Getting all the business members around the table was about as easy as nailing a pudding to the wall. When we finally have an appointment and take a seat together in the corner of the sofa, you can tell how happy they are to meet each other again. "Wow, I've never sat here on the sofa with you before," Stefan Bircher bursts out laughing. At this precise moment, the photographer snaps the picture ... and the group photo is in the can.

The main reason for my visit to Shining in Wollishofen is actually the success in Cannes, together with Team Farner. It quickly becomes clear that everyone is very proud, also of the good collaboration with Farner, but it's still important to them not to trumpet successes too much, but to look at the areas behind the successes. And what are they? "Our employees," says Stefan Bircher emphatically. The Shining team is 20 strong. Many of them have trained and promoted them themselves and honed their strengths. Leonardo Sanfilippo is keen to emphasize: "The negative effect of staff turnover hits companies in the service sector particularly hard. We want to be a leader in the area of promoting young talent because we believe that giving employees exciting prospects and allowing them to stay with us for longer makes us more sustainable and efficient in the market." Caroline Braun adds: "Last year, we had a small, fine production with a mini-crew of six people. On the shoot, I suddenly realized that four of the six crew members originally started their careers as interns at Shining. Each went their own way, as director, production manager, camera ace and DIT. They were enthusiastic, professional and dedicated. That made me very proud."

"Only when everyone feels seen can everyone give their best, just like in a good family."

Stefan Girtanner also emphasizes how highly valued interns are at Shining. They can learn a lot if they are committed and know what they want to learn. "Over the years, we have extended the duration of our internships so that both sides get more out of the commitment," he says. Internships can be offered both at production level and in post-production, as Shining has a relatively broad base and runs an in-house post-production department, he adds. "Many people switch to a permanent position with us after their internship."

Stefan Bircher clears his throat, slightly moved by all the positive feedback and raises his (water) glass: "To the festivals and the free, you are Shining, you have made Shining what we are today. A thousand thanks and: SHINE ON, YOU CRAZY DIAMONDS!"

The beginnings

Stefan Bircher and Caroline Braun founded Shining Pictures in 2007 with the aim of specializing in commissioned commercials. To rejuvenate the industry. It was only on the way to the Chamber of Commerce that they thought about the name of the company. "I don't remember who came up with the idea of Shining Pictures ...", Stefan begins, Caroline interrupts him with a laugh: "Giants was also on the table because we were both growing, but today I'm glad we didn't choose that." The company grows slowly and organically. Sophie Toth came into contact with Shining in 2013, first as a freelancer, then as a permanent employee and soon became part of the management team. "I'm a doer, Caroline is the deliberate one, Leo is the emotional diplomat and Stefan Bircher is the cohesive one - we complement each other well," Sophie concludes.

"In our opinion, recognizing and supporting great talent at an early stage is a must-have."

During the start-up, Caroline works part-time and starts a family. In 2017, Stefan Bircher decides to take a one-year sabbatical. Because the order books are full, Leonardo Sanfilippo is recruited.

When Stefan Bircher returned from his sabbatical in 2018, the collaboration between the business partners changed once again. Everything is decided together, with everyone contributing their own skills and way of thinking and acting. "We share common values, but we all have completely different characters," summarizes Sophie. "We love family, have respect for life, people and nature, we like sustainability, stability and long-term relationships," adds Leo. This is how Shining Pictures GmbH finally became Shining Film in 2020 - with four equal partners.

Stefan Girtanner joined the Shining family in 2019. He has been working for the company as production manager for some time, is an asset, stable, humorous, competent and makes things happen. He was the missing piece of the puzzle. Is the Shining management team now complete? "After 17 years, we have now laid a good foundation," says Stefan Bircher. "We've built up great people, some move on, others stay, we allow everyone to grow, we don't want things to stand still. That's why we're always looking for the new Sophie, the new Caroline, the new Stefan or Leo." Shining Nice AG has been a new legal entity for independent films such as series, feature films and documentaries since 2024.

REQUESTED

"Shining Nice is now an independent production for independent films."

Since 2020, Shining has also been producing longer formats in the field of independent films, series, feature films and documentaries. This has now grown into the company Shining Nice, which was founded and is managed by Sophie Toth. We spoke to her and Stefan Bircher about it.

m&k: How did the desire to expand the range of formats in 2020 come about?

Sophie Toth: I would like to expand on this a little. As a film production company, advertising jobs are particularly exciting when we are brought on board at a very early stage and can contribute our expertise right from the idea generation and script tendering stages. Our know-how and many years of experience contribute a great deal to the quality of the films and complement the creative teams of the agencies and clients. Some agencies already bring us in to pitch to clients. As storytellers, we quickly found great pleasure in longer formats such as the web series for Swisscom and Open Air Gampel. The idea for the fictional series "Tschugger" started to ferment. Before his career in advertising, David Constantin (Bax) had created the web series "Tschutter" on his own and with friends. We wanted to build on that, but do something new. So we pitched SRF for "Tschugger". As we couldn't explain the tonality, drive and style of the series to them sufficiently in words, we shot a ten-minute pilot at our own expense, consisting of a few scenes from the first season. And everything took off from there. The success of the series created demand for further seasons and so David and I were totally absorbed by the series production. There was no time left for advertising, but our understanding of advertising and our contacts helped us to implement communication measures to accompany the series.

Would you be able to highlight the peculiarities, developments and market trends of these related yet independent formats for us?

Toth: Product placements in films have a long tradition. The successful packaging of a brand identity in a context that is appropriate in terms of content and emotionally resonant lends a brand visibility and, in the best case, the image transfer is ideally utilized on both sides. The aim is to integrate the products or brand names as naturally and authentically as possible. The more popular and successful a film or series is, the greater its reach. This is how, for example, the series "Samsung X Tschugger 'FlipCodeMystery'", which won gold at the ADC, was created.

Stefan Bircher: We believe that a paradigm shift is underway as a result of the market entry of private streaming services. Filmmakers from the commissioned film market who have been trained in efficiency and target group understanding are being welcomed into the fiction market by both public and private streaming service providers. There is a noticeable increase in film productions in the fiction market that originally specialized in commissioned film productions.

How would you describe the learning curve?

Bircher: We have learned that the disciplines of commissioned film and independent film function very similarly during shooting, but differ greatly in the financing processes, in pre- and post-production and in the payment modalities due to the different dimensions. In the meantime, we have formed two legal entities from Shining, which are linked by the Shining umbrella brand strategy.

Highlights from the Shining forge

"It is very difficult to select individual cases without doing injustice to others - an attempt:

In the beginning, cases such as "Zimtstern - Leaves", "BfU - Slow Down. Take it easy." and "SBB - unterwegs zuhause" were formative for us. The first longer formats such as the branded web series "Swisscom - Rocco" and "Gampel - Mitschdri" were just as decisive for the history of Shining. The entry into fiction with "Tschugger" in turn led to the first hybrid formats such as "Samsung - FlipCodeMystery". Over the years, we have had the pleasure of working for Schweizer Fleisch, Postfinance, SBB and Coop. And we recently received a Cannes Lion for the "Greenpeace - Breath" commercial.

Every collaboration leaves its mark. That's what makes our profession so exciting."

Revision of the apprenticeship as a mediamatician

Shining is working in a Swissfilm Association (SFA) working group with ICT vocational training on the revision of the media technician apprenticeship. The aim of the revision of this apprenticeship is to set the course for talented content producers so that they are in greater demand on the market and more apprenticeships as mediamaticians are advertised. At tertiary education level B, the group is developing a higher professional examination with a federally recognized qualification through a sponsorship with the SWA, the LSA and the ADC. Under the working title "CCP" ("Creative Content Producer"), the working group recently received the green light and further subsidies from SERI (State Secretariat for Education, Research and Innovation) for the implementation of professional development.

This article first appeared in the m&k print edition 8-9/2024.

The longer the winter lasts, the more eagerly people in Switzerland wait for the first signs of spring. The new Jumbo commercial tells the story of this longing for the redemptive message from nature and what it makes possible. The long-awaited spring arrives in the form of a small bird. The first chirping awakens all spirits, brings back lightness and joie de vivre and drives people out to their beloved activities. The image spot is intended to show that Jumbo has something suitable for all these spring activities. It is also intended to convey that the DIY store is also number 1 when it comes to price. Three versions of the commercial were produced, each with an integrated spring offer.

The TV commercial with the first offer can be seen on TV stations throughout Switzerland and on YouTube from the end of March. The other two versions with other promotions will follow in the coming weeks.

Responsible at Jumbo: Zorica Jurkovic (Advertising Manager). Responsible at Kreisvier Communications: Selina Girletti, Kristina Gerhardt (consulting), Jonas Sispele, Sven Kahler, Natasha La Marca, Samuel Knaus (creation), Lorena Wissler (DTP), image editing: Sturm. Responsible at Shining Film: Leonardo Sanfilippo (Executive Producer), Stefan Girtanner (Producer), Nathalie Maibach (Line Producer), Mirjam and Lukas Fröhlich (Director), Sven Probst (Director of Photography), Mirjam and Lukas Fröhlich (Editor), Unsere Farben, Jürgen Kupla (Colorist), Jonathan C. Meier (Music Composition), Dubdub, Gregor Rosenberger (Sound Design). Voice recordings: The Cover Media.

Werbewoche: Felix Courvoisier, Stefan Bircher and Flo Brunner, you are Waterfront. Can you please explain to us what Waterfront is?

Stefan Bircher (Shining Film AG): Waterfront is the name of our association, which we chose 16 years ago. It was the time when we jointly applied for the building here near the lake in Wollishofen. We form a network of three film production companies with different offerings, but an agenda that is largely congruent. We all work under one roof and share the overheads.

Felix Courvoisier: (Seed Audio-Visual Communication AG) That's right, we run a shared infrastructure, from parking spaces to IT. We have joint billing and insurance, share vehicles and post-production & server facilities - and even buy Post-It notes together. Working together gives us efficiencies and a modern infrastructure that ultimately benefits our customers.

Flo Brunner (Farbfilm Studio GmbH): In this way, we pool our resources for effective project implementation. That leaves more time for innovation and talent development. I appreciate the constant exchange in the teams about projects, the nerd talks in the evening over a beer and that ideas from different "bubbles" come together.

What do you appreciate most about each other?

Stefan Bircher: What I appreciate about Felix is his loyalty and our drama-free cooperation during all this time. With Flo, I especially appreciate how he brought a breath of fresh air to our network. His team shares the same values of loyalty and honesty as Felix. Many thanks to both of you!

Flo Brunner: As the youngest member, I particularly appreciate Stefan's composure. When I'm faced with a complex producer puzzle, he manages to bring clarity in the conversation length of an espresso with ease.

Felix Courvoisier: With Flo, I appreciate his energy and the fresh ideas he brings to the table. His approach to projects and collaboration with the team bring a new perspective to our network.

Is there anything about Felix that bugs you?

Flo Brunner: I am sometimes annoyed by Felix's tireless precision. He takes details very precisely, I think maybe he also has a little OCD.

Felix, is there anything about Stefan that bugs you?

Felix Courvoisier: Stefan is a big classic car enthusiast. He has gasoline in his blood, and as someone with an ecological conscience, that doesn't always sit well with me.

And Stefan Bircher, is there anything about Flo that annoys you?

Stefan Bircher: Flo has fluff in her head all the time, which is good for Waterfront. But sometimes it also annoys me, because it reminds me that I'm getting older.

Each of you runs your own business. Can you give us a brief overview of your respective companies?

Stefan Bircher: The Shining Film AG has been in the film industry for 16 years, producing commissioned films and fictional projects. Caroline Braun, Sophie Toth, Leonardo Sanfilippo and I share and manage the Shining equally.

Felix Courvoisier: With Seed we are specialized in corporate communication with cinematic means, be it image films, event openers or films for internal communication, just to name a few examples.

Flo Brunner: I run Farbfilm Studio, a young creative studio. We promote synergy between talents, directors, graphic designers and different media. Our works are characterized by the fact that they stay away from the ordinary, stand out and feel close to life.

How do your customers benefit from the Waterfront network?

Felix Courvoisier: Our size as a network allows us to share experience and resources. For example, we share information about suppliers and freelancers or equipment, strengthening our knowledge and skills.

Stefan Bircher: Thanks to our network, we can drive joint projects forward, currently for example the effort to use AI offerings profitably in our everyday production. Above all, however, we can also recruit together, which is a great advantage, especially with regard to our meta-theme, the promotion of young talent.

Flo Brunner: As a start-up, it was extremely valuable for us to have access to an existing infrastructure and hundreds of years of cumulative experience. This has strengthened us enormously in our first years.

Felix Courvoisier: In addition, we operate a joint IT and post-production infrastructure to ensure the security of our data. Our customers can rest assured that their data is protected at the highest level at all times.

We now have a better understanding of Waterfront and your companies. How do you see the future of the advertising- and market-related film industry?

Felix Courvoisier: Regardless of technological developments, storytelling and dramaturgical content preparation remain at the core of our industry. However, the way we do this is constantly evolving, which is why it's important to have young talent on board.

Stefan Bircher: We maintain three carefully maintained talent and director rosters that are independent of each other, and share resources and network tasks among them to be efficient and to stay ahead of market developments or implement them in a timely manner.

Flo Brunner: I also see a growing number of young talents in the advertising industry who are looking more intensively at values and the meaning of their messages. This is a welcome development for our industry. I like to look to the future.

Stefan Bircher is a father, filmmaker, entrepreneur, ZHdK, SAWI & SFA lecturer, SFA board member, ADC jury member and skateboarder; Felix Courvoisier is Seed founder, producer and storyteller; Flo Brunner is founder and producer of and at farbfilm studio.

Werbewoche.ch: Sophie Toth, on Sunday the second season of your hit series "Tschugger" will premiere on Swiss television. The show has already been available on Sky Switzerland since mid-October - but the TV launch is something even more special, isn't it? 

Sophie Toth: Yes for sure! Many of my friends and family and also numerous fans have told us that they are waiting for the start on linear TV.

After the success of the first season, expectations are now likely to be high. Nervous?

Of course, we are now very excited about how the second season will be received, since we no longer have the surprise effect and newcomer bonus and, on the contrary, have to prove ourselves. Our expectations of ourselves are also always very high, and that's why I have a good feeling, to quote Andreas Möller in good "Tschutter" language. After all, we're running right after the World Cup final.

Will you also watch the first episode of the new "Tschugger" season on TV?

Certainly, even if we are still allowed to do various bingewatching sessions in cinemas on the weekend. SRF will show two episodes at once on Sunday and I will certainly watch them with my son and friends at home on the beamer.

Rarely has Switzerland waited so eagerly for a TV show produced in Switzerland. How do you explain the "Tschugger phenomenon"? 

Tschugger is a collage that anchors a universal story locally and brings with it a very unique visual style and also humor. We draw on everything we like ourselves - be it Beverly Hills, Fargo or Lilyhammer, the non-touristy side of Valais or hip-hop culture. And I think a lot of people also like our characters because they're not perfect. And also don't take themselves completely seriously. Apart from that, the timing certainly played into our favor. In addition to the many heavy topics, people were probably also in the mood for this kind of humor.

You had already shot the second season before the first season aired. Even though it was a while ago, which events and anecdotes from the shoot do you remember most? 

There would be so much to tell! Every day there was a bigger or smaller drama and a lot of comedy, even behind the camera. For example, on our very first day of shooting on the Simplon Pass, we started in a snowstorm and all the cars were struggling extremely. By the time we arrived, the director of photography had tried to move the stuck car by trying to push empty Coke Zero cans under the tires.

That sounds very exhausting.

But there was not only drama. The shooting also saw the start of a real romance between certain police employees. But the specter of the Covid pandemic was breathing down my neck every day during the filming of both seasons. And other illness-related incidents were also very challenging. For example, during the filming of the second season, we had to rewrite the final scene with the villain because the actor was out due to an acute medical emergency. I also had to stand in for the camera once and double our federal police officer Annette, gun and all.

So if you look closely, you'll discover Sophie Toth herself in season 2.

Exactly. Bax's stunt puppet also had a few stints on the set. And when she wasn't in front of the camera, people were constantly scared by her, because she was usually lying on the floor somewhere and looks very much like Bax.

What was the end of the shooting like?

The last day of shooting of the second season and thus the final evening was also my birthday. The equipment team had created a magically cozy corner in the factory hall where we had set up the studio, with the caravans, sofas and lamps. That really blew me away emotionally. The day after, the first season came out. That everything came together like that was really incredible.

One of Shining Film's core competencies - and an important focus of your work - besides the production of "Tschugger" is the production of audio-visual content for advertising and brand communication. Hand on heart: What do you enjoy more? 

Of course, fiction gives me a lot of pleasure. Being able to tell my own stories and work on them with a great team over a long period of time gives me a lot of energy. I've done a lot of successful commercials over the years, and got a taste for longer formats together with David Constantin for longer commissions - web series for Swisscom and the Openair Gampel. So it was only a matter of time before we wanted and were able to tell our own stories. Now I have various other fictional projects on the table besides "Tschugger".

How do the two fields differ? 

Apart from the fact that both end products are audiovisual works and the contributors are partly the same, the production processes are very different. Both sides have their charms. The brevity and manageability of a commercial production has its charm. We develop over months and can never be on set during the writing process. On the other hand, the shooting takes months. We still have a lot to get used to.

Both good advertising and good TV shows thrive on outstanding storytelling. As a producer, you are not primarily responsible for this, but - from your experience: What makes a story a "good story"? 

For me, a story is good when the characters telling it pick me up. If I believe the problems and challenges of the characters and feel for them, the story works. But for me, there are also audiovisual projects that touch me in a different way. For example, through music or striking images.

What projects are you particularly looking forward to in the coming year? Perhaps the filming of a third "Tschugger" season?

I'm looking forward to all the projects and the challenges that come with them. We have big dreams and hope that some of them will come true next year. If and how it will continue with Bax and the others is not yet clear - but we are super busy...

The half-hour short film "Sandcastles" is about the development of a friendship during the Covid pandemic and was written and realized by up-and-coming Swiss director Hannah Dobbertin. It was co-produced by Blue Entertainment as client together with the Zurich production company Shining Film.

In the film, the two leading actresses devote themselves to their very different roles. Emily is the daughter of a single doctor and has a hard time deciding what to do after graduating from high school, while Chris often feels misunderstood in her conservative family with her acting dream.

At 18 to 30 years old, the comparatively young filming crew filmed "Sandschlösser" in Muri and other locations in Aargau and the canton of Zurich. After an internal preview in Zurich and a public premiere on November 25 in Muri, "Sandschlösser" will be shown as an exclusive streaming premiere on Blue TV from Friday, November 25.

Responsible at Blue Entertainment: Patrick Gantner (Head of Co-Productions), Malte Probst (CPO Fiction). Responsible at Shining Film: Hannah Dobbertin (script and direction), Lia Bayon Porter, Mariska van Lavieren, Miriam Japp, René Schnoz (main actors), Jon Guyer (production management), Kevin Walt (1st assistant director), Elia Grund (camera), Simon Schmalz (sound engineer), Jan Hänggi (head lighting), Nicola Oberholzer (production design). Elia Grunder (camera), Simon Schmalz (sound engineer), Jan Hänggi (head lighting), Nicola Oberholzer (production design), Isabela Gygax (costume), Moritz Bütler (make-up), Nicolas Bechtel (editing), Piero Niggli (music), Bardo Eicher (sound design and mixing), Simon Hardegger (color grading), Nino Ubezio (VFX), Stefan Bircher (co-producer).

Jobcloud is the leading digital company in the Swiss recruitment market, connecting thousands of applicants with the right job every day through its job portals and helping Swiss companies to recruit successfully and efficiently for 20 years with a broad partner network.

2021, The House was awarded a contract for far-reaching communications tasks, accompanying the company in particular in the strategic orientation, the content and visual revision of the brands jobs.ch and jobup.ch and for campaigning, including strategic derivation, creation, media and operation.

Based on the new strategy, Jobcloud has set itself the task of making Switzerland a place that offers as many people as possible a job they love. Because many employees in Switzerland know it - the Monday blues, boredom, or after-work frustration. This is also proven by a representative study conducted in the course of the strategic derivation: Only around 40 percent of all employees in Switzerland are happy in their current jobs.

As a result of these insights and the newly developed strategy, the campaign developed by The House is also built on a compact core idea with stopping power: "Stop working. Love what you do."

In three main stories "Stop with Monday Blues," "Stop with Boredom," and "Stop with After-Hours Frustration," this idea is brought to life and transported in TV spots as well as various cutdowns for digital formats, social media, and DOOH.

The purpose "Love what you do." not only alludes to possible job changes, but also to how employers and employees can improve their lives in existing jobs. In various job hacks on social media, it is shown with a wink that you should also stop working sometimes in order to take time for a few really important things in your job.

All measures lead to the Landing pagewhere, in addition to the main stories and job hacks, various features such as career tip links or shortcuts to jobs with a focus on flexwork can be found. Users have every opportunity here to actively or passively engage with jobs and careers.

The campaign starts on 05.09.2022 in German-speaking and French-speaking Switzerland. The lead medium is TV for a fast and strong reach build-up within the target group, accompanied by IP TV and online video to maximize reach. The campaign is complemented by social media stories & posts as well as performance-oriented display placements in target group-affine environments, whereby geo-based targeting is also used to pick up the target group along the user journey. For additional awareness, OOH and DOOH are used at strategically relevant points.

Responsible at JobCloud: Davide Villa (CEO), Hans Tuithof (Chief Marketing Officer), Moritz Schmid (Brand & Communications Manager), Pierre Hubert (Team Lead Digital Marketing), Christelle Perret-Huwiler (PR Manager), Marek Lerche (Teamlead UX), Responsible for The House: Maria Brandi (Chief Creative Officer), Sascha Borsai (Creative Director), Oliver Spalt (Art Director), Roger Dobmann (Senior Art Director), Veronica Futterknecht (Graphic Designer), Andreas Jorgella (Business Development,) Frank Lang (CEO / Director Consulting), Nina Schennach (Senior Consultant / Project Management), Sebahat Derdiyok (Art Buying), Yacine Azzouz (Strategy), Stephan Suter (Media Strategy, Director Media), Tiziana Arcadi (Senior Media Consultant / Strategy), Dimitri Kistler (Media Consultant), Wandgü de Silva (Senior Media Consultant), Verena Carusone (Senior Media Consultant), Pixeltek GmbH (Frontend Developer). Responsible for Hutter Consult: Michaela Gahbauer (Senior Consultant Social Media), Helena Mühlburger (Consultant Digital Marketing & Advertising, Meta), Dominik Braitsch (Consultant Digital Marketing & Advertising, You Tube). Implementation and production: Shining Film AG (Production), Marina Klauser (Director), Leonardo Sanfilippo (Executive Producer), Yanik Müller (Senior Producer), Nathalie Maibach (Line Producer), Filip Zumbrunn (DoP), Future Connection AG: Patrick Mülhaupt (Web Developer), Patrick Sieber (Web Developer), Detail AG: Rahel Schwager (project management), Dominic Z'Graggen (Polygraph).

This image is mirrored in the film with the climate catastrophe: With this topic, too, action is knowingly postponed until later, although even one degree has great consequences. With this film, Greenpeace Switzerland wants to make the population aware of the great time urgency of the current climate situation. In the process, donations are collected for the ongoing campaign against climate catastrophe.

The project started with a workshop of Greenpeace Switzerland and Freundliche Grüsse, where the basic idea was born, and was completed as a co-creation with different participants, with Farbfilm Studio being responsible for the lead in the film production.

Responsible at Greenpeace Switzerland: Anita Reber, Emanuel Büchler (Multimedia Production), Nemi Wildbolz (Freelance Text / Concept). Responsible at Friendly regards: Samuel Textor (Creative Direction), Christian Stüdi (Text / Concept). Responsible at Farbfilm Studio / Shining Film (film production): Samuel Morris (Director), Marco Frei (DoP), Flo Brunner (Producer), Stefan Bircher (Producer), responsible at Jingle Jungle (Sound Design): Robert Büchel. Responsible at 86Tales (film music): Gordian Gleiss.

In cooperation with Radio Energy Zurich, Davos Klosters Tourism launched another activation at the end of January 2022, calling on Swiss citizens to spontaneously board a real gondola that was waiting for them at Zurich's Stadelhofen train station. For the winners of the draw, it was then literally "Up now" with the gondola - to an all-inclusive weekend in Davos Klosters.

Responsible at Destination Davos Klosters: Roger Manser (Head of Marketing & Sales), Remy Horn (Marketing/Product Manager), Samuel Rosenast (Head of Communications), Larina Marugg (Social Media). Creative concept: TBWA Switzerland. Film production: Shining Film. Banner design and production: Capture Media. Event implementation and communication: Radio Energy Zurich.

Small helpers, big impact. Smart Life is Swisscom's contribution to a simpler, safer and more pleasant everyday life. The core of the offering is the free Home App as a smart hub for managing & linking the most popular smart home devices in Switzerland.

More than 100,000 customers are already using the app to control their homes - regardless of where they are, whether directly via app, voice or automated. So far, more than 50 products from manufacturers such as Sonos, iRobot, Philips Hue and Ikea can be used. Swisscom customers can also use the Home app to organize their Wi-Fi, including parental control, time control, and reception optimization.

The new commercial aims to raise awareness of the fact that Swisscom's Smart Life offers make a major contribution to more energy-efficient solutions in everyday life. In it, Älpler Gian, an experienced and mischievous pragmatist, makes life a little more pleasant for himself with the all-round carefree solution "Home App" while he pursues his favorite pastime of all: everyday philosophy.

With a hearty off-camera dialect, the rural everyday poet comments on his witty and surprising thoughts with refreshing views on God, the world and technology.

Gian likes to work, but also knows where to save work. He meets the changing times with stoic composure as well as openness and curiosity. Because Gian knows how to sweeten his life and uses smart home gadgets to do so.

Responsible at Swisscom: Daniel Fisler (Content & Digital Marketing), Simon Lanzi (Senior Communication Manager), Florian Schlapbach (Business Owner Smart Life), Mehmet Öngören and Claudio Büchi (Home App & Smart Home, Technical Support).

Responsible at Shining Film AG: Stefan Bircher (Executive Producer), Laurent Arber (Junior Producer), Fröhlich (Director), Sven Probst (Cinematographer), Nicolas Bechtel (Editor), Jonathan C. Meier (Music), Bluebox (Sound Design and Mixing), Simon Hardegger (Colorgrading).

Cross campaigning on social media and in-game specials will also playfully incorporate the Snipes X McDonald's collection and Big Mac Bacon into the winter campaign.

As already last summer Wintergame also comes with 8-bit graphics, paying homage to legendary arcade games like Super Mario Bros. and Wonder Boy. The game was realized together with TBWA\X from Amsterdam.

The spot for the game was again produced together with Shining Film and director Simon Wannaz. The campaign is accompanied by print, online and social media measures as well as Christmas GIF animations that can be used on social media and can be seen as window stickers in the restaurants.

Responsible at McDonald's Switzerland: Aglaë Strachwitz (CEO), Jean-Guillaume Bertola (Marketing Director), David Smadja (Digital Marketing Lead), Anne-Cécile Combe (Digital Senior Consultant) Diane Biancotti (Brand Specialist &sss Marketing Consultant), Brenda Henry (Intern Digital Marketing & Business Insights), Sandrine de Cerjat (Marketing Consultant), Daria Lowe (Marketing Trainee). Responsible at TBWA\Zurich: Manuel Wenzel, Tizian Walti, Calvin Kroehne, Luise Zoeckler, Stephanie Seematter, Reto Clement, Mathias Bart, Mario Hipleh (creation), Dominik Laubscher, Patricija Slekyte, Morgana Stolz (consulting), Onno van Gijssel, Florido Meacci (TBWA\X). Partner: Shining Film (Film Production), Caroline Braun (Executive Producer), Stefan Girtanner (Senior Producer), Simon Wannaz (Director).

The centerpiece of the campaign is the music video "Champion" - produced by Shining Film with director Marco Lutz. The clip is intended to dramatize all that the Children's Hospital Zurich does for sick and injured children. The song "Champion" comes from the studio SuccessClub by Dodo and Big J.

The little champions rock their illnesses, and the employees of the children's hospital join in: Together, they want to inspire people and encourage them to donate to the new Kispi. Because the commitment of the population is also needed to complete the project of the century.

The clip appears online and as a 30-second spot on TV and in cinemas. In addition, there are many other measures, including posters, filler ads, radio spots, digital ads, e-mailings and the central landing page. Thenewkispi.ch with patient stories, virtual tour, Peer2Peer fundraisers and online donation opportunities. In addition, a traditional donation mailing and a scatter shot will be sent out.

Responsible at the University Children's Hospital Zurich: Arun López (Head of Campaign, Fundraising), Bojan Josifovic (Communications). Responsible at Spina's Civil Voices: Susi Kammergruber, Lorenz Spinas, Steph Huwiler (CD) Barbara Strahm, Beat Egger, Franziska Pennington (creation), Martina Honegger (consulting). Responsible at Shining Film: Stefan Bircher (Executive Producer), Stefan Girtanner (Senior Producer), Marco Lutz (Director), Ralph Bätschmann (DoP), Jero Fähndrich (Editor), David Haisch (Casting). Responsible at SuccessClub: Dodo (songwriting), Marco Jeger (music), Olivia Eberhardt (management). Sound design and mix: Jingle Jungle. Photos: Simon Opladen (photography), Sergio Beti (litho).

For six years, Raiffeisen has been operating the platform Localheroes.ch in the cooperative sense and makes its crowdfunding platform available to project starters and supporters free of charge. Recently, the national fundraising platform was thus able to celebrate reaching 20 million francs in donations for over 1,100 local projects.

Raiffeisen's image campaign aims to show the potential of crowdfunding and to raise awareness of Raiffeisen's successful donation platform Lokalhelden.ch, which was launched for this purpose. Shining Film delivers the appropriate film.

The film is intended to differentiate Raiffeisen as a cooperative and to show that something is given back to the region by means of crowdfunding or the Lokalhelden.ch platform, in line with the cooperative idea.

Representative of thousands of successful projects

In order to strengthen the bond with the region in all parts of the country, the broad Swiss population is addressed with the aim of motivating visitors to Lokalhelden.ch to enter their own local and charitable project.

Selecting and portraying a single project from over 1000 successful ones was jointly rejected. A film script was developed that is based on several concrete projects and tells the story of the creation of an adventure playground. The film will be used on TV and in cinemas as well as on social media.

Responsible at Raiffeisen: Oliver Niedermann (Head of Marketing), André Stöckli (Head of Sponsoring); Samuel Weibel (Group Manager Lokalhelden.ch), Delia Burkhard (Consultant Communication-Marketing Lokalhelden.ch). Responsible at Shining Film (film production): Stefan Bircher (Concept, Script and Executive Producer), Jonathan Heyer (Concept, Script, Director and Photographer), Lea Dettli, Manuela Rüegg (Production Management), Daryl Hefti (Director of Photography), Frederik Kunkel (Equipment), Wolfgang Weigl (Edit).