PEDIGREE
DONATION GLASSES
ONE CINEMA SCREEN,
TWO SIMULTANEOUS STORIES
By adapting the way 3D glasses work, we were able to simultaneously project two entirely different films on the same screen.
Before the movie, cinemagoers were faced with a choice: donate and receive a yellow pair of glasses, or pay nothing and receive a red pair. That decision determined the fate of the dog.
RECEIVE A RED PAIR
THE DOG ISN’T FOUND
SEE THE DIFFERENCE A DONATION MAKES
RECEIVE A YELLOW PAIR
SEE THE DOG GET RESCUED
PEDIGREE
DONATION GLASSES
GOLD LION | YELLOW PENCIL | TITANIUMVIEW ALL 23 AWARDS
SEE THE DIFFERENCE
A DONATION MAKES
ONE CINEMA SCREEN,
TWO SIMULTANEOUS STORIES
By adapting the way 3D glasses work, we were able to simultaneously project two entirely different films on the same screen.
Before the movie, cinemagoers were faced with a choice: donate and receive a yellow pair of glasses, or pay nothing and receive a red pair. That decision determined the fate of the dog.
VIEW CASE STUDY
VIEW ALL 21 AWARDS
7x GOLD | 6x SILVER#4 YOUTUBE VIDEO OF THE WEEK
OVER 20 MILLION VIEWS | #1 VIRAL VIDEO AD AGE
“WE ASKED FOR A CONVERSATION, WHAT THEY GAVE US WAS A CULTRAL PHENOMENON.” - Walter A Hass. Levi Strauss & Co, Global Marketing Group
LEVI’S
REAR VIEW GIRLS
#4 YOUTUBE VIDEO OF THE WEEK
OVER 20 MILLION VIEWS | #1 VIRAL VIDEO AD AGE
JAE MORRISON
DIRECTOR | CREATIVE
7x GOLD | 6x SILVER
VIEW ALL 21 AWARDS
VIEW CASE STUDY
PRESS & CULTURE
CONAN O’BRIEN REMAKE
‘BEHIND THE BEHINDS’
“WE ASKED FOR A CONVERSATION, WHAT THEY GAVE US WAS A CULTURAL PHENOMENON.”- Walter A Hass. Levi Strauss & Co, Global Marketing Group
WESTERN
SYDNEY UNIVERSITY
DENG ADUT
JAE MORRISON
DIRECTOR | CREATIVE
2x GRAND PRIX | 5x GOLD
VIEW ALL 27 AWARDS
VIEW PRESS
VOLVO x TIKTOK
Brought in-house at AKQA as a dual Creative Director / Director I was asked to create social-native content for Volvo's TikTok account. The brief was to deliver work that felt seamlessly social in tone and visual craft, as the previous approach of re-cutting TV commercials wasn’t landing with the TikTok audience.
Briefed just days before an influencer event, I had to concept, present, and prep the shoot, mindful that every script had to be executed around the main proceedings with minimal impact. Working with a small team, I developed a suite of lifestyle and feature concepts for Volvo's entire range of new vehicles: eight pieces to capture nimbly as the event ran. We'd pull each vehicle as it became available, shoot our coverage, then return it.
My creative and production experience let me hold the balance between brand integrity and a genuinely social-appropriate tone and execution, and I was trusted to run the shoot without client supervision, so the first they saw of the work was the nearly-complete edits. Writing & directing on the fly let me spot new ideas in the moment, so across the two days, the eight planned videos became fourteen unique pieces of approved and delivered content.
JAE MORRISON
CREATIVE DIRECTOR | DIRECTOR | ORIGINAL MUSIC
DOP | DRONE | EDIT | GRADE & POST
VOLVO x TIKTOK
Brought in-house at AKQA as a dual Creative Director / Director I was asked to create social-native content for Volvo's TikTok account. The brief was to deliver work that felt seamlessly social in tone and visual craft, as the previous approach of re-cutting TV commercials wasn’t landing with the TikTok audience.
Briefed just days before an influencer event, I had to concept, present, and prep the shoot, mindful that every script had to be executed around the main proceedings with minimal impact. Working with a small team, I developed a suite of lifestyle and feature concepts for Volvo's entire range of new vehicles: eight pieces to capture nimbly as the event ran. We'd pull each vehicle as it became available, shoot our coverage, then return it.
My creative and production experience let me hold the balance between brand integrity and a genuinely social-appropriate tone and execution, and that meant I was trusted to run the shoot without client supervision, so the first they saw of the work was the nearly-complete edits. Writing & directing on the fly let me spot new ideas in the moment, so across the two days, the eight planned videos became fourteen unique pieces of approved and delivered content.
JAE MORRISON
CREATIVE DIRECTOR | DIRECTOR | ORIGINAL MUSIC DOP | DRONE | EDIT | GRADE & POST
LANGUAGES
OUT THERE
FOR WANT OF A BETTER WORD
JAE MORRISON
ART DIRECTION | GRAPHIC DESIGN | ILLUSTRATION“A visual, verbal and
intellectual delight.”
- Steven Pinker
Professor, Harvard UniversityAuthor of The Language Instinct,
The Stuff of Thought, and Words & Rules
VIEW OUTDOOR
LANGUAGES
OUT THERE
FOR WANT OF A BETTER WORD
ART DIRECTION | GRAPHIC DESIGN | ILLUSTRATION
VIEW OUTDOOR
SONY PLAYSTATION
EUROPE / APAC
BRAND CAMPAIGN
THE GAME IS JUST THE START
JAE MORRISON
EUROPEAN/ASIA-PACIFIC CREATIVE DIRECTOR | ANIMATION DIRECTORTHE BRIEF
PlayStation had established itself as an edgy, go-to brand for hardcore gamers. But to grow, it needed to broaden its appeal to families, and convince previous generation console owners to upgrade, even though no major new game releases were available at the time.
Creating individual campaigns in every market was too costly and time-consuming, and was resulting in an inconsistent brand.
Authentic in-game footage had consistently outperformed traditional campaign assets in convincing potential buyers. For that reason (and for cost saving), the campaign needed to incorporate existing gameplay footage supplied by the wide range of game developers.
A cohesive visual language was needed, that was flexible enough in its look and file-structure that it could adapt across all static and dynamic formats, languages and markets without the need for extensive redesigning.
There was a mandate to bring all possible production elements in-house, so my experience as a Creative/Director/Designer was a key part of delivering this solution.
Creating individual campaigns in every market was too costly and time-consuming, and was resulting in an inconsistent brand.
Authentic in-game footage had consistently outperformed traditional campaign assets in convincing potential buyers. For that reason (and for cost saving), the campaign needed to incorporate existing gameplay footage supplied by the wide range of game developers.
A cohesive visual language was needed, that was flexible enough in its look and file-structure that it could adapt across all static and dynamic formats, languages and markets without the need for extensive redesigning.
There was a mandate to bring all possible production elements in-house, so my experience as a Creative/Director/Designer was a key part of delivering this solution.
THE GAME IS JUST THE START
A tactile, approachable, and open-ended campaign unified all games, hardware, software, and services across Sony Computer Entertainment Europe, APAC territories, and central digital platforms.
The visual system reinforced the breadth of the next-gen console’s offering, moving beyond the limitations of its predecessor.
Designed to appeal across age groups, it adapted fluidly to different markets, formats, and languages.
Key to this flexibility was the creation of dynamic 3D-style ‘smart’ typography that preserved its detail and craft even when localised, reformatted or updated.
GMI Ad Testing Research found the work was seen as surprising, exciting, creative, entertaining, playful, different, inclusive, cutting-edge, and sociable.
UK 2CV Comms Evaluation showed 87% of respondents took something out of the communications — a 31% and 39% increase over the previous two campaigns.
These results retained the global account, and the campaign was extended in reach, and duration for the following year.
The visual system reinforced the breadth of the next-gen console’s offering, moving beyond the limitations of its predecessor.
Designed to appeal across age groups, it adapted fluidly to different markets, formats, and languages.
Key to this flexibility was the creation of dynamic 3D-style ‘smart’ typography that preserved its detail and craft even when localised, reformatted or updated.
MISSION ACCOMPLISHED
GMI Ad Testing Research found the work was seen as surprising, exciting, creative, entertaining, playful, different, inclusive, cutting-edge, and sociable.
UK 2CV Comms Evaluation showed 87% of respondents took something out of the communications — a 31% and 39% increase over the previous two campaigns.
These results retained the global account, and the campaign was extended in reach, and duration for the following year.