A converted "train shuttle" is planned from Filisur to the Landwasser viaduct. For this, stops and edges, as well as a viewing platform must be built. Furthermore, an adventure farm is to be built below the viaduct, as the RhB wrote in a statement on Thursday.

A tree glider, a model railway park and adapted existing offers are to round off the project. The aim is to make the area around the Unesco World Heritage site a tourist experience and to bring added value to the region, Simon Rageth of RhB's corporate communications told Keystone-SDA.

System-relevant infrastructure

The RhB allocated 4.5 million francs for the project on Thursday. The Graubünden government classified the project as system-relevant and approved 2.9 million francs. The rest will be contributed by several local communities and private individuals.

The next step is the approval process. The project is being led by the Landwasserwelt association, which was founded specifically for this purpose. It consists of the RhB, the local communities and tourism partners.

The association markets the Landwasser Viaduct as "the landmark of Graubünden". With the positioning as a railroad valley and an overall product around the world-famous viaduct, the region has a unique selling point, it said in a statement in March this year. In order to use the potential, however, the forces must be bundled.

The fact that the timing around the announcement of the credits was so close to the RhB's successful world record was a "nice coincidence," Rageth said. On Saturday, the Rhaetian Railway ran the world's longest passenger train over the Landwasser Viaduct (Werbewoche.ch reported). (SDA)

Volkswagen has joined big companies in putting their advertising on Twitter on hold following the takeover by tech billionaire Elon Musk. The Wolfsburg-based company cited the U.S. short messaging service's announcement on Friday that it would revise guidelines for the placement of such content as the reason.

The VW Group has now "recommended its brands to pause their paid activities on the platform until further notice," it said. This is not a definitive advertising stop: "We are monitoring the situation closely and will decide on the next steps depending on developments.

The months-long back-and-forth over Musk's plans to join Twitter, as well as his ideas about the company's direction and how to deal with employees, had recently caused turmoil. The Tesla and SpaceX CEO completed the purchase of the social network for around $44 billion last week.

Musk promised to crack down on fake accounts and spam, and to make Twitter "the most accurate source of information in the world." On the other hand, he himself recently spread a link to a conspiracy theory about the attack on Paul Pelosi, the husband of U.S. House of Representatives Speaker Nancy Pelosi. Musk is also known for unpredictable communication in other ways.

There is also resistance from users to his plans to offer the coveted blue checkmark for verified accounts as part of a paid subscription. Musk wrote: "To all the complainers, please keep complaining, but it's eight dollars." Subscribers will also see only half of the usual ads. On Twitter, advertisements are played into the user's timeline as "paid tweets.

A permanent withdrawal of major advertisers would be a problem for Twitter and Musk. The service has recently been in the red. Musk also took out loans of around $13 billion for the takeover deal - and according to media reports, servicing them requires more money than the Twitter business generates in free funds. Shrinking revenues would be particularly inconvenient.

Last week, Volkswagen's US rival General Motors had already declared that it would at least suspend its advertising activities on the platform. Pharmaceutical group Pfizer and food giants Mondelez and General Mills are said to have taken similar steps.

Possibly even more threatening for Twitter's advertising business, which accounts for around 90 percent of sales: The major international advertising groups are also keeping their distance. The industry giant IPG, which manages billion-dollar advertising budgets for companies such as Coca-Cola, American Express, Levi Strauss and Spotify, is said to have advised customers to stop advertising on Twitter just a few days after Musk's takeover.

"It's not yet clear where Elon Musk stands," Martin Sorrell, founder of the world's largest advertising holding company WPP, said this week, referring to Twitter's future policies. Companies, therefore, were waiting. "Customers don't want conflict, they don't want controversy."

VW has been paying more attention to the environment of its online advertising for some time. There was sharp criticism, for example, when an error in an automatic filtering program for playout led to an ad landing on the right-wing U.S. news portal "Breitbart." The carmaker took the reappraisal of a video spot on Instagram that was perceived as racist as an opportunity to review its internal award processes.

Twitter employees were to be told by e-mail on Friday whether they will still work for the online service after the takeover. According to media reports, 3700 jobs could be eliminated, around one in two. Offices will remain closed on Friday and all access cards will be deactivated, an email sent to employees said.

"If you are in an office or on your way to an office, please return home." He said the measure was intended to ensure the safety of employees as well as Twitter systems and user data.

The move is likely to be a precautionary measure to rule out any possible protests by laid-off employees. It would not be unprecedented: In November 2017, an employee deactivated the Twitter account of then U.S. President Donald Trump on his last day on the job. It took around ten minutes before the account was back online.

The circular said the job cuts were "unfortunately necessary to ensure the company's success in the future."

For Twitter employees, the circular email was the first official communication since Musk completed the purchase last Thursday, according to, among others, the Washington Post reported. Originally, a general meeting with Musk had been announced for the following Friday. This was canceled - just like a later date for it, it said with reference to employees.

On Thursday, a lawsuit was already filed in San Francisco on behalf of several employees, accusing Twitter of violating California labor law with poor communications surrounding the layoffs. The lawyers are seeking class action status. (SDA)

Luzia Tschirky was born in 1990 in Sargans SG, where she spent her childhood and youth and attended the Sargans Cantonal School. After studying politics at the University of Zurich, she completed internships and freelance work at SRF. Tschirky also founded the industry association "Medienfrauen Schweiz" back in 2014.

Tschirky has been Russia correspondent for SRF since 2019, providing journalistic coverage of the war in Ukraine. She has reported and continues to report tirelessly from war and crisis zones, venturing courageously - but also carefully - into dangerous spaces to report for SRF. At the same time, she stands for transparency in public service. Luzia Tschirky stands up for journalism and gives it a face of constancy in times of uncertainty. The Radio and Television Prize is awarded to her for her tireless work in and for journalism.

Radio and Television Award of Eastern Switzerland

As a rule, SRG Ostschweiz has awarded the Radio and Television Prize of Eastern Switzerland annually since 1952. This recognition or promotion prize is endowed by the cantons of Appenzell Ausserrhoden, Appenzell Innerrhoden, Glarus, Graubünden, St. Gallen and Thurgau and is worth CHF 10,000. It is awarded to media professionals who meet various criteria. On the one hand, the person has made exceptional achievements in the field of audiovisual media - radio, television, online, film or photography. On the other hand, they have either created an outstanding journalistic contribution on a topic from eastern Switzerland or have a biographical connection to the region, i.e. they work there or have their roots in eastern Switzerland.

Zurich is a great place to live and spend your vacation. The gastronomic offer is broad, the nightlife varied, the waters clean, nature right on the doorstep. For this very reason, however, the region is also recommended as a venue for sustainable business events: In recent years, a wide range of responsible and environmentally friendly services has been established here in the event and meeting sector.

Schroten is currently presenting a small selection of these in a LinkedIn campaign that is tailored to event planners with a focus on sustainability and is being played out to them in a targeted manner. For example, the target group can learn more about climate-neutral high-tech congresses at the Kongresshaus, highly efficient urban farming at Eat Umami, team events such as "Taste The Waste," where supposedly surplus food is cooked in a playful way, or how the Sorrell Hotel Zürichberg interprets social responsibility.

The seven films live from their simple narrative form, which conveys knowledge quickly, compactly, and vividly - even without having the sound on your device. Since summer 2022, they have been used at regular intervals on LinkedIn in German and English.

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Responsible at Zürich Tourism: Janine Rupf (Lead Content Marketing). Responsible for grist: Adrian Schräder (overall responsibility), Sebastian Sele (text), film production: Benjamin Weiss, Mattogrosso GmbH, Marc Bachmann (camera), Annika Fausch (editing).

For SI Editor-in-Chief Silvia Binggeli, who took over the title in February, it's back to the roots. "I started my journalistic career over twenty years ago as a journalism student at the Swiss Illustratedn began. I'm very excited to now lead the cult magazine into the future with a great team." The Swiss Illustrated will appear from Friday with a refreshed layout and additional new sections.

Personalities in focus

Meeting and showing personalities in private is part of the DNA of the SI. There are now additional sections: In the future, two Swiss personalities from different fields will exchange views on current social issues in the "Gipfeltreffen" discussions. In "Meine Kulturwoche" (My Culture Week), celebrities reveal which films, books, concerts or art exhibitions inspire them. In addition, Swiss people who have moved abroad talk about what they experience abroad and what they miss about Switzerland.

In the back section of the magazine, the service pages are visually upgraded and expanded with lifestyle: Interior, watches and sustainability are new additions to the established topics of travel, health, food, cars, fashion and beauty. The expanded lifestyle section also appears in the French-language sister magazine L'Illustré.

Expanded view, refreshed layout

The logo again gets a prominent appearance and moves to the left margin on the cover. The weekly content will be visible on the cover in all its diversity. In the magazine, clear structures, new fonts and tidy graphics will ensure better reader guidance. The pictures - the trademark of a magazine - are given space. The service section will be visually enhanced. Although playful elements freshen up the appearance, the reader guidance has become calmer and clearer.

"The SI content formula is not new - but we want to strengthen it. Loyal readers should not have the feeling that they are holding a completely different magazine in their hands - just a refreshed one, one that brings well-known personalities closer to them each week, but also presents newcomers, lets them discover and shows the diversity of Switzerland," explains Binggeli. "We keep an eye on social developments. Above all, we want to surprise and entertain with honest, relevant stories and strong images of personalities."

From July to September, RTL increased its consolidated revenues by almost a fifth year-on-year to 1.7 billion euros, as the Group announced on Friday. For the first nine months, this represents an increase of twelve percent to 5 billion euros.

The company benefited significantly from its global content business with Fremantle, which generated almost 28 percent more revenue. Advertising revenues remained almost stable.

In the first nine months, RTL Group gained significantly more paying subscribers for its streaming platforms RTL+ in Germany and Videoland in the Netherlands. At just under 4.8 million paying customers, the figure was around 40 percent higher than a year earlier.

However, due to delayed deliveries of productions and content, RTL expects revenues in the current year to be lower than announced. Revenues are expected to rise to 7.2 billion euros. Group CEO Thomas Rabe had already previously adjusted the annual targets. The revenue target for this year had previously been around 7.3 to 7.5 billion euros.

"Looking ahead to the fourth quarter, we expect the difficult environment in the advertising markets, especially in Germany, to continue," Rabe said. (SDA)

The personnel changes are taking place in the context of the global reorganization of the Group announced at the beginning of 2022. From now on, there will be an even stronger focus on the individual categories of the company and they will be managed as business groups with end-to-end responsibility. In this context, corporate communications is gaining in importance as a link between the business groups. One of the most important goals here is more agile, goal-oriented and transparent communication with all relevant stakeholders.

"With Carolin, we are gaining a proven communications expert with a good feel for people and issues," Stefan Pfeifer, managing director of Unilever in Germany, is quoted as saying in a statement. "For years, she has helped shape the political agenda for the company and convinces with her excellent understanding of the traditional as well as the digital media world."

Weber began her career at Unilever in 2009 in Customer Marketing in the UK & Ireland, moving to Hamburg in 2011. Since 2013, she has been part of the communications team for the DACH region, during which time she has built up issue management and been responsible for the company's sustainability agenda. In addition, she has designed and implemented numerous internal and external campaigns and thus played a key role in driving Unilever's reputation forward.

Grover launches an attention-grabbing TV campaign in Germany and Spain. Foundry created six spots for this, addressing different target groups based on their rental behavior and motivations. The campaign will run cross-media on all German and Spanish channels.

"Grover It" aims to pick up on trends that can be seen on various social media channels. The core of the campaign is based on content found on platforms such as TikTok and Instagram. Previous campaign data, customer insights and trending topics were analyzed to define the content of the communication. The results can be seen in six videos, including a manifesto video.

The company operates entirely online, which is why a digital momentum was set in the communication, through the exclusive use of vertical videos - which is unusual in advertising.

All spots will be broadcast on TV and on various online platforms in Germany and Spain. By establishing the brand name as a verb, the campaign pursues the long-term goal of making "Grover it" part of the culture and synonymous with renting technology.

Foundry Berlin was responsible from creative conception to execution. The spots were produced and directed by Sugar Rush Productions and director Ivo Mostertman.

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Responsible at Grover: Tim Navis (Vice President of Marketing), Gunes Guler (Brand and Localization Manager). Responsible at Foundry: Alexander Brown (Creative Partner, Foundry NYC), Nishant John (Creative Director), Gustavo Frazão (Head of Art), Lea Kutz (Art Director), Marta Kosiorek (Account Manager), Sacha Moser (Founder and Creative Partner). Partner: Ivo Mostertman (Director), Yonca Alpaslan (Producer, SUGAR RUSH PRODUCTIONS).

A total of 88 projects were submitted for the Effie Awards Switzerland 2022, for which two jury rounds were held. First, 50 jurors selected 41 finalist projects. Then 21 jurors - each under the leadership of jury president Peter Felser - selected a total of 24 winning projects. Which projects are involved here, has Advertisingweek.ch unveiled in various stages over the past few weeks, including six bronze, twelve silver and two gold Effies.

So far, the agencies Publicis/Notch and Webrepublic, Rod Kommunikation, Wirz, Sir Mary and Rod Kommunikation were able to secure a Gold Effie 2022 (Werbewoche.ch reported). Now another Gold Effie goes to the account of Wunderman Thompson, and Jung von Matt Limmat can also claim a Gold trophy. This means that all of this year's bronze, silver and gold winning projects have been determined.

Which of the agencies will win the Grand Effie will be decided exclusively at the award night on November 10.

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Geberit Aqua Clean "Handbutts" (Category: Social Media)

The "Handbutts" campaign achieved an increase in all relevant KPIs: +355% engagement rate, +105% view-through rate, +33.9% conversion rate, and up to an incredible +1700% in the number of interactions.

What you can achieve with a bare bottom. The social media activation for Geberit AquaClean impressively shows how effective a strong and, above all, surprising visual can still be in a world flooded with content.

In order to communicate the benefits of the Geberit shower toilet - cleans the butt with water - quickly and, above all, in an eye-catching way, Wunderman Thompson staged a naked butt that later turns out not to be a butt at all. After all, what is supposedly forbidden makes one all the more curious.

The Handbutt video plays with the rules of social media - and breaks them. Wunderman Thompson's idea proves that with a bold idea and an even bolder implementation, you can prevail even in the clutter of social media. Even with a brand from a category that is usually completely lost in this channel.

• Client: Geberit International
• Lead Agency: Wunderman Thompson Switzerland
• Other agencies / companies: Eqal Visual Productions, Mediacom

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Doubt Chips "Sixth Sense" (Category: Brand Image)

Zweifel not only maintained its position as the favorite brand, but also significantly increased it by almost 14 percent compared to the previous year.

In order to maintain the No. 1 position in the long term, the brand Zweifel must inspire a new generation of fans who are interested in something new instead of something familiar. Target group research shows: The combination of well-known taste competence and the target group's interest in unusual experiences creates a new approach.

Hence the idea: experiment instead of message - with taste tests as the core of communication, the unusual is achieved in content and form, which is what the new generation is looking for: The Sixth Sense Challenge - an interactive taste test for young chips lovers that invites them to hunt for the secret ingredients via clues on the social web. Zweifel thus not only maintained its position as the favorite brand, but also significantly increased it by almost 14 percent compared to the previous year.

• Client: Doubt Pomy Chips
• Lead Agency: Jung von Matt Limmat
• Other agencies / companies: Blish / Jung von Matt Impact / Studio Thom Pfister / Cobolt NetServices

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Secure here Your ticket for the award night on November 10, 2022.

The Swiss Commissioned and Commercial Film Award Edi. is under the patronage of the Federal Department of Home Affairs and is organized by the Swissfilm Association.

In 2022, according to the organizer, once again excellent works were submitted, of which 49 films nominated for the shortlist and 15 were awarded an Edi. The winners of the Edi.22 were announced on Thursday evening during the award ceremony. The evening was not hosted by Max Moor, as in previous years, but by the rapper Big Zis.

Shortly before the end, as every year, the traditional group photo of all winners in the golden rain was taken. former Swissfilm Association President Peter Beck honored with a standing ovation.

The winning films 2022

Commercials category: spots 20 to 90 seconds

Gold: "Series Cursor: The World, War, Economy"

We see world-shaking images, known from the global media and therefore omnipresent in our collective memory. The film brings movement into these images and thus lets us read and question them anew. With this campaign, a major media title skillfully underlines the importance of serious journalism to the point.

• Production Company: Stories
• Producer:inside: Yves Bollag, Cédric Marville, Nicole Spring
• Client: Neue Zürcher Zeitung, Johannes Berchtold
• Director: Stories, Tobias Fueter, Nicole Spring
• Concept: Stories, Patrick Viert
• Screenplay: Stories, Tobias Fueter
• Editing: Stories, Tobias Fueter
• Visual Effects/Illustration: Seth Deter (Motion Design); Stories, Stefan Bucher (Postproduction Technical Manager)
• Music (Composition, Performer): Stories, Adrian Frutiger (Music Adaptation & Mix); Brianna Tam (Composition)
• Sound design/scoring: Stories, Adrian Frutiger

 

Silver: "Swisslos|Advent lottery"

This film convinces with a fabulous atmosphere in which the audience is immersed from the first second. A voyage of discovery that, by means of special protagonists, manages to maintain the magic for a Rubellos.
At most, this chocolate factory-style print shop generates more weight in the bank account.

• Production Company: Markenfilm Switzerland
• Producers: Florian Studer, Ulrich Scheper
• Client: Swisslos Intercantonal National Lottery, Markus Fischer
• Director: Markenfilm Switzerland, Andreas Bruns
• Agency: Erdmannpeisker, Sybille Erdmann
• Concept: Erdmann Peisker, Gabriel Peisker
• Camera: Markenfilm Switzerland, Simon Drescher
• Music (composition, performer): Amaury Laurent Bernier

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Commercials category: spots up to 20'

Silver: "Amorana Series - Kings & Queens: Camping, Tarpaulin, Hotel"

Rarely has one seen such a buttoned-up approach to this topic. The film series convinced the jury with its surprising and humorous concept, which is explicit and coded at the same time. Scenery and characters seem to be straight out of a Monthy Python movie, or in short: it makes you want more.

• Production Company: Bubbles&Sons
• Producers: Svenja Hässig; Bad Rabitt, Miloš Marjanović
• Client: Amorana, Alan Frei
• Director: Bubbles&Sons, Easy McLovin
• Agency: Family, Claudio Catrambone, Tabea Mader
• Concept: Family, Claudio Catrambone, Michel Kiwic
• Camera: Luka Trajkovic
• Production Design (Styling, Equipment): Bad Rabbit, Goran Joksimović (equipment, set design), Jelena Đorđević (styling, make-up, costume)
• Editing: Family, Marc Ambühl (Editor)

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Category Commercials: Online Only

Bronze: "Series Yeaah Seltzer - Hangover home: shower, alarm clock, office".

Made iconic for Generation TikTok. Refreshing for our time. Makes boom in the head - like the drink Hard Seltzer itself. Colorful and loud, hangover-appropriate. Catchy right down to the packshot. A standout among all the entries. And has earned for it the metal sip for sip, pardon, cut for cut.

• Production Company: Czar Film
• Producers: Sandy Blum, Morris Müller
• Client: Yeaah Seltzer, Martin Dommer
• Direction: Behave, Duo Behave
• Agency: Sir Mary, Florian Beck, Constantin Camesasca
• Concept: Sir Mary, Constantin Camesasca; Martin Arnold
• Camera: Behave, Duo Behave
• Production Design (Styling, Equipment): Dario Pina (equipment, set design), Linda Amacher (styling, make-up, costume)
• Edit: Behave, Duo Behave
• Animation: Behave, Duo Behave
• Visual effects/illustration: Czar, Nepomuk Pfaff (Animation 2D, 3D, After Effects)
• Sound design/scoring: Jingle Jungle, Bardo Eicher

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Category Corporate Communication: Brand / Image Films about the company

Gold: Children's Hospital - Champions

A film that tells a serious topic through happy children's eyes. With dynamic editing and outstanding camera work, a music video is staged that gets under the skin and, despite the seriousness of the subject, is not only fun for the viewer, but probably also for the little patients who were allowed to participate in this film.

• Production Company: Shining Film
• Producers: Stefan Bircher, Stefan Girtanner
• Client: University Children's Hospital Zurich - Eleonora Foundation, Arun López, Bojan Josifović.
• Director: Marco Lutz
• Agency: Spinas Civil Voices, Barbara Strahm, Beat Egger, Martina Honegger
• Concept: Spinas Civil Voices, Beat Egger
• Screenplay: Marco Lutz
• Camera: Ralph Bätschmann
• Production Design (Styling, Equipment): Josi Schäppi (equipment, set design), Simone Enkerli and Dana Hesse (make-up, SFX), Marion Fritschi (styling, costume)
• Editing: Jero Fähndrich
• Visual Effects/Illustration: Shining Film, Dominik Nussbaumer (Animation 2D, 3D, After Effects)
• Music (composition, performer): Dominik (Dodo) Jud (songwriting), Marco Jeger (composer)
• Sound design/scoring: Jero Fähndrich (sound design/scoring); Jingle Jungle, Gregor Rosenberger (sound design)

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Category Corporate Communication: Marketing films about the product

Bronze: Cloudneo

This film dramatizes the repetitive recycling process and unpacking moment in a clear and catchy way. With atmospheric running scenes, the urban target group is optimally picked up. A new subscription explained in a visually attractive way in a nutshell.

• Production Company: Hillton
• Producers: Mona Bertschinger, Alessandra Dolci
• Client: On, Alexia Vitasse, Jonatan Akay
• Directed by Animals, David Bertschinger Karg, Tobias Bonfanti
• Concept: On, Dennis Ginsig
• Screenplay: Animals, David Bertschinger Karg, Tobias Bonfanti
• Camera: Fabio Tozzo
• Production Design (Styling, Equipment): Viviane Rapp
• Editing: Denis Gnoni
• Visual Effects/Illustration: Roman Kälin (VFX Direction); No.8, Tim Smith (Color Grading)
• Music (composition, performer): Fabio Friedli (composer)
• Sound design/scoring: Jingle Jungle, Robert Büchel

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Corporate Communication: Information films

Gold: "Series SBB Part-time Initiative: Nadia, Nora, Stefan".

With a high production level, the film focuses on the work-life balance and testifies to a bold approach. The fast but dynamic editing is convincing and serves the message. It gives intimate insights into the lives of the three people and portrays them in a multifaceted way.

• Production Company: Shining Film
• Producers: Stefan Bircher, Gustaf Richter, Laurent Arber
• Client: SBB, Corinne Kuhn, Tijana Kojic
• Director: Mirjam Fröhlich, Lukas Fröhlich
• Agency: Farner Consulting, Philipp Skrabal, Jill-Nadine Reuvener, Camille Zuber
• Concept: Farner Consulting, Philipp Skrabal, Ennio Cadau
• Screenplay: Mirjam Fröhlich, Lukas Fröhlich
• Camera: Sven Probst
• Editing: Jero Fähndrich (Editor, Cutter); Mirjam & Lukas Fröhlich (Director); Bobby Good (Assistant Editor)
• Visual Effects/Illustration: Shining Film, Vera Gut (Animation 2D, 3D, After Effects), Pascal Holzer (VFX Direction); Slaughterhouse, Samuel Muff (Colorist)
• Music (composition, performer): Great Garbo, Nora, Diego & Lionel Baldenweg (Composers)
• Sound design/scoring: Remote Sound, Bardo Eicher (sound design); Florian Hinder (set sound)

 

Silver: "Under the Influence - Let's Break the Silence."

A visually reduced animation design combined with a factual narrative, sensitively reflects the emotional world of a dramatic life situation. The film manages to underline the shadowy world of the protagonist authentically and in all consistency.

• Production Company: Nous Prod
• Producer: Fanny Haussauer
• Client: DécadréE
• Director: Camille Bovey
• Concept: Camille Bovey
• Screenplay: Camille Bovey
• Animation: Camille Bovey
• Sound design/scoring: Boris Gétaz

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Category Branded Content: Branded Storytelling / Fiction

Gold: Series Sennheisser Ambeo Soundbars: Documentary/Primal, TV Spot/Primal

The film shows in a surprising way how true-to-life the sounds of a soundbar can be transmitted. This goes so far that wild animals think they have heard their own kind. The soundbar manages to catapult the listener into the middle of the scenery. This kind of storytelling captivates the audience from beginning to end.

• Production Company: Mygosh
• Producers: Lamar Hawkins, Ilonka Galliard, Natali Sussman
• Client: Sennheisser Brand (Sonova Holding), Virginie DeBeco, Jessika Petrusch, Maximilian Voigt
• Directed by Mygosh, Viviane Blumenschein (Director/Director), Ulrich Kirchner (Line Producer/Producer)
• Agency: Foundry, Sacha Moser, Alexander Brown
• Concept: Foundry, Sacha Moser, Pascal (Pi) Bauman, Lily Kahana
• Cinematography: Devin Toselli (DoP/Camera TVC), Naudé Heunis (DoP/Camera Documentary), Bryn North (Drone/Second Unit Dop).
• Editing: Stephan Duplessis (TVC Offline), Mario Kowarz (Documentary Offline)
• Visual Effects/Illustration: Blake Prinsloo (VFX Director), Terry Simpson (Color Grading)
• Music (composition, performer): MassiveMusic Berlin, Tip van den Bos (Composer); MassiveMusic Amsterdam, Auke Riemersma (Stereo Mix)
• Sound design/scoring: Helmut Scherz (sound engineer); Staub Audio, Moritz Staub (sound design/scoring); Studio Funk, André König (Dolby Atmos mix)

Winner Special Edi.

Special Edi. Script: "What have statistics ever done for us"

A dry subject cleverly presented. The author leads in an initially clumsy but then humorous way on a false trail.

• Screenplay: Sébastien Kühne
• Production Company: Crunch
• Producer: Marc Studer
• Client: Swiss Federal Statistical Office FSO, Benjamin Rothen
• Director: Sébastien Kühne
• Agency: Crunch, Sébastien Zürcher
• Concept: Federal Statistical Office FSO, Benjamin Rothen; Crunch, Sébastien Zürcher
• Camera: Crunch, Marc Studer
• Production Design (Styling, Equipment): Crunch, Jonas Humbel
• Editing: Crunch, Marc Studer
• Sound design/scoring: Crunch, Lukas Eggenschwiler; Audioflair, Thierry Lüthy

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Special Edi. Directed by: "Patient Story - Lia"

A film with a lot of sensitivity in dealing with the subject and the protagonists. As a viewer you feel the direct suffering on a very moving and honest narrative. The highs and lows, respectively. Hopes and setbacks let you participate in the story.

• Director: Mirjam Fröhlich, Lukas Fröhlich
• Production Company: Shining Film
• Producers: Stefan Bircher, Sandra Vacić
• Client: University Children's Hospital Zurich - Eleonora Foundation, Arun López, Bojan Josifović.
• Concept: Mirjam Fröhlich, Lukas Fröhlich
• Screenplay: Mirjam Fröhlich, Lukas Fröhlich
• Camera: Sven Probst
• Editing: Martin Luchsinger, Mirjam Fröhlich, Lukas Fröhlich
• Music (composition, performer): Great Garbo, Nora, Lionel & Diego Baldenweg (Composers)
• Sound design/scoring: Martin Scheuter (sound design)

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Special Edi. Camera: "The perfect match"

The seamless interplay of the various camera departments convinced the jury in this work. Lighting, camera work and composition give this film a strong visual aesthetic, while still leaving the necessary space for the acting.

• Camera: Ralph Baetschmann
• Production Company: GSP Get Some Popcorn
• Producers: Désirée Wismer, Christian Jäggi
• Client: Swisscom, Danny Accola, Pascal Morgenthaler; Apple, Maylis Pajot
• Director: GSP Get Some Popcorn, Dominik Bauer
• Concept: Swisscom, Danny Accola, Pascal Morgenthaler
• Screenplay: GSP Get Some Popcorn, Dominik Bauer
• Production Design (Styling, Equipment): Telefabi.ch (digital props), Fabian Lüscher (equipment, set design); Tale, Noel Oegerli (equipment, set design); Style Council, Mariana Munoz (styling, make-up, costume).
• Editing: GSP Get Some Popcorn, Deborah Rhyner, Raphael Fischler
• Visual effects/illustration: Cloudscape, Patrick Baumann (VFX director)
• Music (composition, performer): Fabio Friedli (composer)

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Special Edi. Cut: "Series SBB Part-Time Initiative: Nadia, Nora, Stefan"

When the editing turns the camera's top speed, the music's pioneering rhythm, the sequences of scenes with strong images into an intoxicatingly beautiful film, it is simply above average and deserves a special Edi. for editing.

• Editing: Jero Fähndrich
• Production Company: Shining Film
• Producers: Stefan Bircher, Gustaf Richter, Laurent Arber
• Client: SBB, Corinne Kuhn, Tijana Kojic
• Director: Mirjam Fröhlich, Lukas Fröhlich
• Agency: Farner Consulting, Philipp Skrabal, Jill-Nadine Reuvener, Camille Zuber
• Concept: Farner Consulting, Philipp Skrabal, Ennio Cadau
• Screenplay: Mirjam Fröhlich, Lukas Fröhlich
• Camera: Sven Probst
• Editing: Mirjam & Lukas Fröhlich (Director); Bobby Good (Assistant Editor)
• Visual Effects/Illustration: Shining Film, Vera Gut (Animation 2D, 3D, After Effects), Pascal Holzer (VFX Direction); Slaughterhouse, Samuel Muff (Colorist)
• Music (composition, performer): Great Garbo, Nora, Diego & Lionel Baldenweg (Composers)
• Sound design/scoring: Remote Sound, Bardo Eicher (sound design); Florian Hinder (set sound)

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Special Edi. Animation: "Under the Influence - Let's Break the Silence."

A coherent story with an independent style. Impressive and oppressive moments. Style that fits the story and leaves room for the story.

• Animation: Camille Bovey
• Production Company: Nous Prod
• Producer: Fanny Haussauer
• Client: DécadréE
• Director: Camille Bovey
• Concept: Camille Bovey
• Screenplay: Camille Bovey
• Sound design/scoring: Boris Gétaz

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Special Edi. Visual effects: Woodland

Outstanding technical implementation of visual effects. Rendering and photorealism at the highest level. The compositing and particle effects create an atmospheric whole. The tempo changes additionally impressed the jury.

• Visual effects: Roman Kälin
• Production Company: Pulk
• Producer: Roman Kälin
• Client: IWC Schaffhausen, Nicholas Schmidt
• Director: Pulk, Roman Kälin
• Concept: Pulk, Roman Kälin; IWC Schaffhausen, Nicholas Schmidt
• Editing: Pulk, Roman Kälin
• Animation: Pulk, Roman Kälin, Florian Baumann, Linus Schneider
• Visual effects/illustration: Pulk, Gianluca Ravioli (Animation 2D, 3D, After Effects), Deny Fousek (Animation 2D, 3D, After Effects)
• Music (composition, performer): Echoic Audio Ltd, David Johnston
• Sound design/scoring: Echoic Audio Ltd, David Johnston

The Swiss Muesumspass Foundation, based in Zurich, aims to promote cultural diversity as well as education and knowledge in society and to communicate and disseminate these through the operation of a Swiss Museum Pass. The goals of the Christmas campaign are to make museum visits more attractive and to increase visitor frequency.

The campaign is designed to raise awareness of the Swiss Museum Pass. This resulted in social media measures flanked by Google ads.

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Responsible at Stiftung Schweizer Muesumspass: Basile Boyer. Responsible at Attackera: Stephan Frey, Andrea Zelic.

Young people today are under enormous pressure to perform. And not only if they want to become top athletes or pursue a singing career. Even ordinary young people have to finish school, shape their professional future among endless options, and master adulthood. This often leads to fear of failure, excessive demands and self-doubt.

The Youth Mental Coach Getty Russo has made it its business to focus on this target group and to accompany the young people on their way. For this clear positioning of the offer as well as the formation of the brand and its communicative implementation, he relied on the know-how of the agency at the airport in St.Gallen. The entire brand world, the website, advertisements, PR and print products were implemented.

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Customer: Gaetano Russo (Youth Mental Coach). Responsible at agency at the airport: René Eugster (overall responsibility), Elia Vogt (art direction, illustration), Maximilian Eugster (consulting).