SHOOT E.Dition, February 18, 2005, Vol 46, No 5E

THE BEST WORK YOU MAY NEVER SEE

THE LEADING NEWSWEEKLY FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Click Poster To View Spot > A DCA Business Publication Volume 46 No. 5e, February 18, 2005 www.shootonline.com This AMPAS Honors Week “Dreams” Intact As Sony To Continue Scientific-Tech Work With Y&R On 4th Year Program Achievements By Carolyn Giardina

Columns Client Decision To Change Ad Agencies Won’t Impact This Year’s PASADENA, Calif.— The technical Slate Of Short Films By Spot Directors Using 24p HD Cameras community gathered last weekend (Feb. 12) for the Academy of Motion Picture By Robert Goldrich Arts and Sciences’ (AMPAS) annual NEW YORK—Despite the recent parting of ways between (Bond was recently nominated for the coveted DGA Award Scientific and Technical Awards, a black Sony Electronics and Young & Rubicam (Y&R), New for best commercial director of 2004. Noam Murro of Biscuit tie gala at the Ritz-Carlton Huntington York—with the account rumored at press time to be heading Filmworks wound up winning the DGA honor on January Hotel in Pasadena. Here, high honors ScreenWork to Fallon Worldwide, Minneapolis—the 2005 “Dreams” 29—SHOOT’s e.dition, 2/4, p. 1.) went to such advancements as camera project is proceeding as originally scheduled. According to a The ’05 lineup of “Dreams” directors consists of: Dylan; crane systems and motion capture Sony Electronics’ spokesperson, the company’s Broadcast and Samuel Bayer of bicoastal RSA USA; James Gartner of Santa technology. Production Systems Division will continue to work with Y&R Monica-based GARTNER; Alison Maclean of Park Pictures, Actress Scarlett Johansson did a on the fourth annual “Dreams” program, which turns noted spot New York; Doug Nichol of bicoastal/international Partizan; fine job as celebrity presenter, which directors loose to reflect their creative vision in shorts lensed Hank Perlman of bicoastal/international Hungry Man; Jeffery included the reading of complex with Sony 24p HD cameras. Plansker of Supply & Demand, New York; Baker Smith of Several of the “Dreams” shorts have already been wrapped, Santa Monica-based harvest; Charles Stone III of Brown Bag with others in various stages. For example, director Jesse Films, New York; and the StyleWar collective, represented by DP Delbonnel Wins Dylan of Los Angeles-based Form has completed his short. bicoastal Smuggler. Dylan succeeded Fredrik Bond of bicoastal/international MJZ This year’s series of “Dreams” shorts is slated to debut Coveted ASC Award who had to pull out of “Dreams” due to a scheduling conflict. By Carolyn Giardina

HOLLYWOOD — Bruno Delbonnel, AFC took top honors in the feature film Creative Client Super Bowl XXXIX Ad Feedback: Part II competition of the American Society of Josh Rogers Cinematographers (ASC) Outstanding Services A SHOOT Staff Report compare them, but I can’t imagine this Copywriter year’s were better. Achievement Awards last week on the A Very Long Engagement JACKSONVILLE, Fla. — Continuing Powell, New York Thank you, Don Cheadle, or whoever strength of , our two-part look at agency artisans’ Overall, everyone and everything writes his NFL playoffs ads. This one’s which was directed by Jean-Pierre Jeunet. assessments of this year’s crop of Super underachieved. I didn’t expect anything not as good as, say, “Five Seconds,” but It was the first ASC Award for Delbonnel Bowl ads, the theme of creatives playing “good,” in terms of brand building, but he can still make you imagine the world and his second ASC nomination. He Amelie Classified safety first due to the Janet Jackson we didn’t get any real entertainment in a simple moment. [The ad was done was first nominated in 2002 for , Section carryover factor from the ’04 halftime either. client-direct for the NFL, and directed by another collaboration with Jeunet. (After show was prevalent. Here’s some select Frankly, last year’s were so Cheadle through NFL Films, Mt. Laurel, a four-year hiatus from spots, feature feedback: forgettable too, it’s almost impossible to 1 Spot.com.mentary By Robert Goldrich telecast and then upping the ante, “What happens here stays here.” reportedly trying to get FOX affiliates The Super Bowl is reportedly the “Punch Drunk” and owned-and-operated stations not to most heavily wagered upon sporting event n this week’s e.dition, SHOOT wraps directed by Bryan Buckley applies to what happened to the ad. It was make airtime available during the Big in the world. Suffice it to say that a decent its two-part coverage of ad agency of bicoastal/international left behind and didn’t get to move on to its Game or in pre- or post-game coverage. amount of interest in the NFL is based on feedback assessing the creativity—or Hungry Man for R&R intended destination: the Super Bowl. The But the individual market strategy worked betting, such as that which takes place in I once more for R&R, which saw “Punch office pools. The weekly injury reports lack thereof—contained in this year’s Super Partners, Las Vegas. NFL—not ABC-TV, which had the Big Bowl spot crop. Ironically, advertising that This included the clever Game that year—turned thumbs-down Drunk”—directed by Jim Jenkins of released by the NFL and point spreads help would have upgraded the field has had “Mistress of Disguise,” on the commercial for the Super Bowl Hungry Man—air in New York, Los to fuel interest and influence the betting to stay on the sidelines in recent years— which opened on a hot- telecast. A spokesman for the NFL stated Angeles, San Francisco, Chicago, Dallas, decisions made by professional and non- namely the continuing “What Happens to-trot woman getting into the back of a at the time, “The league office decided Boston and Philadelphia, similar to the pro bettors. Still the NFL wants to distance Here Stays Here” campaign from the Las stretch limousine for a ride to the airport. that the commercial was not in our best Super Bowl buy the agency executed in ‘ itself from gambling, having maintained a Vegas Convention and Visitors Authority. Even the street-smart chauffeur raises his interest.” 04 with CBS. longstanding policy against ads that make In 2003, the campaign debuted, eyebrow in reaction to the images in his In ’04, R&R came out with “Big The gritty “Punch Drunk” shows a reference to or mention of sports betting. rearview mirror and the sounds emanating Game,” which combined an exterior shot of prizefighter in the locker room after a bout But in the case of the “What happens here from the backseat. The limo partition is the Vegas strip complemented by supered that has left him bloodied and disoriented. stays here” spots, there is no such mention. then raised, leaving her backseat exploits copy promoting the town as an exciting His trainer makes his way through a crowd Apparently in this case the identity of the to our imaginations. place to join with other fans to catch not to see his boxer and check out his condition. advertiser is enough to prompt a ban from THE LEADING NEWSWEEKLY FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT Upon arrival at the airport, the driver only the Super Bowl but also other events The trainer holds up two fingers and asks the NFL, a policy which is ill advised, if PRODUCTION opens the limo door for his passenger. She year-round. Again, the NFL denied “Big the fighter to tell him how many fingers not hypocritical. February 18, 2005 Volume 46 • Number 5e has changed into a conservative business Game” inclusion in the Big Game telecast. he sees. The response: “Four.” The boxer While gambling is a big part of goes on to admit he doesn’t know what city Vegas, the R&R campaign is designed to EDITORIAL suit and is on her cell phone, talking with But R&R did an end-run and bought time a proper British accent. The now familiar in major local markets on CBS stations for he’s in and he doesn’t remember what he promote tourism. Vegas survives off of Publisher & Editorial Director • Roberta Griefer did last night. The trainer then asks, “Do tourism, right down to the cab drivers and 203.227.1699 ext 13 • [email protected] tagline appears—“What happens here, Super Sunday exposure. Editor • Robert Goldrich stays here”—underscoring that you can This year, R&R came back with you remember what I did last night?” The hotel industry workers. With state budgets 818.884.2440 • [email protected] live out your fantasies in Vegas and then “Punch Drunk,” and its “What happens fighter says no, eliciting a smile from the facing huge deficits, tourism has arguably Senior Editor/Creative & Production • Kristin Wilcha leave them before returning to your normal here stays here” theme. Unfortunately, the trainer, who proclaims his guy is alright, become more critical to the economy than 203.227.1699 ext 16 • [email protected] daily life. déjà vu also included the NFL blocking not to worry. The parting shot is the supered ever. Indeed the R&R message is deserving Sr. Editor/Technology & Postproduction • Carolyn Giardina message against a black background, of the advertising industry’s biggest stage. 310.581.5750 • [email protected] Unfortunately the catch-line also the ad from being on the Super Bowl Reporter/Associate Online Editor • Emily Vines 323.874.4659 • [email protected] Contributors Meet The Professor Fred Cisterna, Tom Soter, Christine Champagne By Emily Vines Production & Circulation • Gerald Giannone 203.227.1699 • [email protected] OFFICES Editor Sloane Klevin Does Double Duty In New York Main Office • 21 Charles Street #203 • Westport, CT 06880 ditor Sloane Klevin’s desire to teach has has been with since August ’02. SHOOT: How did Columbia approach you to 203.227.1699 • Fax: 203.227.2787 teach? Is this your first teaching job? West • 6520 Platt Avenue, #575 • West Hills, CA 91307 moved her from the West Coast to the During her career, Klevin has cut at 818.884.2440 • Fax: 203.227.2787 East Coast and into one of America’s such editorial houses as Miller/Wishengrad/ Klevin: Well, not really, I had been a mentor in L.A. © 2005 DCA Business Media LLC E most prestigious universities. Since 2002, Peacock, Santa Monica, and Mad River for years through IFP Project: Involve. [IFP stands for All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any she has been teaching one class a semester as Post, Santa Monica. She later freelanced and Independent Feature Project, a nonprofit organization] means, electronic, mechanical, photocopying, recording, or other- wise, without the prior written permission of the publisher. an adjunct assistant professor of film editing has cut everything from trailers and spots to This woman that I went to UCLA with, Pam Tom, For Print Issue Subscription Service Inquires and at Columbia University’s School of the Arts feature films including Pumpkin and Real started this program at IFP to promote diversity in the Subscription Orders, Please call: Women Have Curves 1.847.763.9050 Graduate Film Division in New York City. In . She most recently cut film business. And basically they take applicants— For e.dition subscription inquires email: an interview with SHOOT, she explains how Sloane Klevin Heights, which stars Glenn Close, Isabella aspiring or emerging filmmakers who are either from [email protected] and why she began teaching as well has how Rossellini and James Marsden; it debuted at a minority, of color, or gay or lesbian—and they find For SHOOT custom reprints in quantities of 100 or more please contact 651.415.2300 or [email protected] she balances her academic pursuits with cutting at The the 2005 Sundance Film Festival and is scheduled for out what they want to do. They then hook them up SHOOT e.dition published weekly except in January, July, August, Blue Rock Editing Company, the New York house she release in June. and December when twice monthly. Produced in U.S.A. 2 3 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWSNEWS NEWS NEW Richardson and last year’s ASC feature Sony, Y&R Continue “Dreams” Delbonnel Wins First ASC Award Award winner John Schwartzman (Seabiscuit) reported that they are thus far. of North America. And Beebe and available for ad assignments and Yagoda has been the point person Cameron have each been active as filmmaker Jeunet is again available in were focusing on new spot projects. next month at the Ziegfeld Theater, on “Dreams” since its inaugural year spot cinematographers. Incidentally, the ad discipline, being represented Schwartzman is represented as a New York. The ’05 “Dreams” theme of 2002. He continues to work on Beebe and Cameron recently scored stateside by New York-headquartered director/DP for commercials via is “Flight,” which was chosen by Ken select assignments for Y&R, including the British Academy Award in Curious Pictures and in Europe via bicoastal RSA USA Yagoda, who last month left his staff “Dreams.” cinematography for Collateral. Grand Large, Paris.) The three ASC Award winners position as managing partner/director As earlier reported, Rich Rosenthal During the ASC event, SHOOT Delbonnel topped a field of in the television categories were: of broadcast production and creative assumed the Y&R, New York, director caught up with Deschanel who SHOOT feature nominees consisting of Dion Jonathan Freeman for Iron Jawed resources at Y&R, New York ( ’s of broadcast production mantle from reported that principal photography Beebe, ASC, ACS and Paul Cameron Angels (HBO) in the cable movie e.dition, 1/21, p. 1). Yagoda chose Yagoda. Rosenthal was promoted had wrapped on his most recent for Collateral; Caleb Deschanel, ASC competition; Robbie Greenberg, “Flight” because it has “more kinetic from associate director of broadcast feature, Ask The Dusk, directed by for The Passion of the Christ; Pawel ASC for Homeland Security (NBC) energy than our previous themes.” He production at the agency. Robert Towne. The cinematographer Edelman, PSC for Ray; and Robert in the original movie for broadcast said that this new thematic direction has --additional reporting by Carolyn was preparing to supervise the digital Richardson, ASC for The Aviator. TV category; and Nathan Hope in the provided a creatively inspiring change of Giardina intermediate process on the film. Several of the nominees have ties to episodic series competition for Down pace as reflected in the shorts completed Deschanel also directed an episode commercialmaking. For example, the Drain, an installment of Csi: of the new Dick Wolfe-created NBC Deschanel is a director/cameraman via Crime Scene Investigation. Greenberg, FLASHBACK series Law & Order: Trial By Jury, Dark Light Pictures, West Hollywood. who won ASC Awards for the cable 5 YEARS / 10 YEARS scheduled to debut in March. Richardson is represented as a director/ movies Winchell in ’99 and Dorothy Meanwhile, fellow nominee ❑ DP for commercials by bicoastal Tool Dandridge in ’00, also has spot credits FEBRUARY 18, 2000/Spike Jonze has decided to stay put at bicoastal/ as a DP. international Satellite for spots and music videos; official confirmation Agency Update Receiving the prestigious ASC came last week that his contract extension is for three years….Executive By Kristin Wilcha Lifetime Achievement Award was producers Luke Thornton and Liz Silver, former principals at bicoastal/ New Faces Fred Koenekamp, ASC, an Academy international The End, have launched production house Believe Media, The Towering David van Eyssen Greg Hahn has joined BBDO New York, as an executive cre- Award winner for and teamed with director to form sister interactive Inferno in ’75, and an Oscar nominee shop, I Believe Media, both bicoastal ventures….Director/cameraman ative director. He had previously been with Fallon, Los Angeles…. for Patton and Islands in the Stream. Lionel Coleman, formerly of now defunct 1/33 Productions, has joined Jeremy Postaer and Peter Nicholson have joined JWT, New And the Presidents Award went to Santa Monica-based production house Visitor….Director Walter Pawluk York, as executive creative directors….Jerry Cronin has joined Richard Moore, ASC, who co-founded has signed for commercial representation with Dublin Productions, the McCarthy Mambro Bertino, Boston, as partner/co-creative di- Panavision with Robert Gottschalk in Hollywood-headquartered company headed by principal/director Rick rector….Damon Collins has joined Mother, London, as a creative ’54. He shared a technical Oscar for Dublin and executive producer Jonathan Miller…. designing and developing a 65mm director. He had most recently been the top creative director at ❑ FEBRUARY 17, 1995/Pi Edit, the offline house that recently moved camera system. His cinematography into a new space in New York, has added Stu Eisenberg as a staff editor Lowe, London….Media buying firm Carat has launched Carat credits included The Wild Angels, and plans on adding a third Avid soon. Eisenberg comes over to Pi Edit after Entertainment, an in-house unit that will develop branded en- Sometimes a Great Notion, The Life more than 10 years as a senior editor at Dennis Hayes & Associates, New tertainment projects. Michael Yudin will head up the division…. and Times of Judge Roy Bean and Annie York….Director/cameraman Michael Givens has signed with TexasStory, Kristin Peterson has joined Gap, Inc., San Francisco, as VP of . Director/editor Larry Bridges Dallas, for commercial representation in the Southwest and Southeast brand exposure and promotions…. cut the opening to the ASC Awards regions only….Edit Sweet, Chicago, has announced the addition of Jan ceremony again this year. Bridges is Maitland to its staff. Most recently, Maitland served as an editor at post- Account Movement principal in editorial house Red Car, production facility Optimus, Chicago….Director Billy Kent has signed with SBC Communications is shifting its corporate image work to which has shops in such markets as Crash Films, the Santa Monica company headed by producers Gary Ward Santa Monica, San Francisco, New and Bill Fortney Michael Pollock Dennis Hayes & GSD&M, Austin, Texas, and Rodgers Townsend, St. Louis. The …. has left edit house York, Chicago, Dallas and Buenos Associates, New York, to take a job as executive producer at Vito DeSario work had been with Merkley + Partners, New York… Aires. Editing, New York…. 4 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWSNEWS NEWS NEW Agency Artisans Assess Big Game Spots; Super Bowl Elicits Not-So-Super Feedback Phil Smith with the monkeys [three spots directed caused some advertisers to think how N.J.] VP/senior producer by Hungry Man’s Buckley for Cramer- we can be entertaining and intriguing I really liked the “demonstrative Laughlin/Constable, Chicago Krasselt, Chicago]. The Brad Pitt without resorting to fart jokes. I’m for dance” in Godaddy.com [directed by The “Let’s clean it up” tone was commercial [a national spot buy] for a good fart joke, but the commercials Bryan Buckley of bicoastal/international reflected in the commercials. Some Heineken was beautifully executed. represented a little bit more of a mix this Hungry Man for The Ad Store, New people were able to pull off some fun I hate to diss ads because I know time as compared to the let’s shock and York.] I have no idea who they are, but and clever stuff working within this NFL how difficult it is to write, produce and out-gross each other [spots] from last the actress’s little turn was fantastic. or self-imposed “keep it clean” policy. sell the ad to the client. The MasterCard year. FedEx achieved something—I’m Instead of going for crass or crude humor, spot with all the characters [“Icons,” with still a little unsure of what it was—when Ameriquest went to dark humor, with the live action directed by Kinka Usher of Jason Sperling they parodied every other failure [in cat [and the tomato sauce]. I didn’t know House of Usher Films, Santa Monica, and Group creative director “Top 10,” out of BBDO New York and who they are and not sure I do now. But animation helmed by Wayne Brejcha and Colby & Partners, Santa Monica directed by Buckley.] in terms of getting your name out there, it Ed Newmann, with lead CGI animator The ads were very lackluster, a little And Heineken gets something for was effective [for Ameriquest]. Sean Henry, all of Calabash Animation, more disappointing than usual. There their production value [in “Beer Run,” FedEx did a great job spoofing Chicago, for McCann-Erickson, New were many more disappointments than out of Wieden+Kennedy, Amsterdam, the format. They’ve done that in years York] was well executed. But I felt I had great commercials—a lot of rehash with past. For me, the one ad that stood out seen Toys ‘r Us or Target do this same concepts I had seen before. directed by David Fincher of bicoastal Phil Smith Anonymous Content, and featuring some years ago was the one that simply thing at one time. And I don’t know It’s ironic that FedEx came out with Brad Pitt], and since you can’t badmouth sense. Who in the world is Silestone showed color bars, with the advertiser what Bud Select is, other than it has no an ad that boiled it [a Super Bowl spot] David Fincher. [for counter-top company Consentino; saying they were supposed to have a aftertaste. Does that mean regular Bud down to a formula in a year that proved Budweiser Dancing [“Designated “Diana Pearl,” out of Freed Advertising, great commercial here but they didn’t has an aftertaste? to be more formulaic than ever. While Driver Dance,” directed by David Sugar Land, Texas], and why do they use FedEx [to deliver it] so it didn’t get …Overall maybe it [the let’s-clean- FedEx was good, it still wasn’t up to the Kellogg of Anonymous Content for DDB get to introduce themselves to me by here on time. up-our-act factor] wasn’t bad. Maybe it genius of before when they did the color Chicago]. I liked this better the first time destroying the ’86 Bears—for whom Anheuser-Busch tried to hit all bars. I saw it. When it was called Teenwolf. Dennis Rodman presumably punted—in aspects: funny [“Parachute” directed And there were missed opportunities Olympus: This straddles the fine an “I am Tiger Woods” rip-off? by Michael Downing of harvest, Santa this year. Napster had the power of a message line between “this camera will I was surprised to see a mortgage Monica, for DDB Chicago]; responsible Super Bowl ad to re-brand themselves. get you a hot date” and “this camera will company selling violent jokes with Cedric the Entertainer as the Instead they put a card on the screen. get you hot moves,” [in spots directed by [Ameriquest, directed by Craig Gillespie “Designated Driver”; and patriotic with The little new advertisers that wanted Dave Meyers of bicoastal/international of bicoastal/international MJZ for DDB the troops at the airport, which stood out to do something big—[CIBA Vision’s O2 @radical.media for The Martin Agency, Los Angeles]. I was surprised to see a in an environment of funny spot gags. contact lenses, directed by Jim Sonzero Richmond, Va.] neither of which make newfangled Budweiser. I was surprised There were also some ads that got via bicoastal/international Believe to see Miller still mounting the job done even if they were uneventful. Media for Grey Worldwide, New York] their ridiculous attacks I came away from the Napster ad with and Godaddy.com, for example—didn’t against them. the message that Napster costs less. So look so hot. Silestone didn’t make any I was heartened that maybe that’s good advertising from an sense. And [for Careerbuilder], why the someone thanked the advertising standpoint. Another one that monkeys? Enough with the monkeys. troops [Anheuser-Busch’s wasn’t the best commercial or execution The best comedy was in the Degree “Applause,” out of DDB but got the message across was Olympus antiperspirant spot [with the mama’s Chicago and directed by Joe with its combined camera and digital boy toy doll, directed by the Joe Public Pytka of PYTKA, Venice, music player. All I can remember is people duo of bicoastal HSI for Lowe, New Calif.], but surprised that dancing around, a blue background, a York]. Lay’s was pretty good execution anyone took credit for it. hip-hop banner. But I do remember the [with M.C. Hammer, directed by Spike And I’m always product—so instead of carrying around Lee of 40 Acres and a Mule Filmworks, surprised to see 85 percent a camera and an MP3 player, I can have Brooklyn, for Spike DDB, New York]. of the advertisers flushing both in one device. As far as beer ads go, Heineken was millions down the toilet. Careerbuilder did a pretty good job pretty good….It hit the mark. Click poster to view Ameriquest's "Mini Mart" Jason Sperling 5 TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK TOP SPOT OF TOP SPOT Gene Kelly Is Singin’ In The Rain - Again - For Volkswagen OF THE WEEK DDB, London, Relies On NE-O And MPC To Update Classic Movie Scene Client legendary dance scene, “Gene” (:60) of lengthy and complicated negotiations known simply as Crumbz appears toward Volkswagen Golf GTI. By Christine Champagne finds Kelly—through the magic of visual with Kelly’s estate for the rights to use the end of the commercial to perform the Agency effects—breakdancing and popping and Kelly’s likeness; EMI to use and update more acrobatic moves. he creative team at DDB, Singin’ in the Rain London, knew they were locking to a contemporary version of the tune ; and Warner A DIGITAL DANCE DDB, London. the tune Singin’ in the Rain composed Bros. and Turner Entertainment for taking a risk when they MPC visual effects supervisor/lead Jeremy Craigen, creative director; decided to—in essence— by the eclectic dance duo Mint Royale. permission to use footage from and film The spot, which, of course, showcases new footage based on the film Singin’ in Inferno artist Alex Lovejoy was on set Martin Loraine, copywriter; Steve Tresurrect the late Gene Kelly and update during the shoot doing rough comps to the Volkswagen Golf GTI, ends with the the Rain. the performer’s famous dance sequence ensure that the visual effects crew would Jones, art director; Richard Chambers, from the classic 1952 film Singin’ in the tagline, “The original, updated.” Once those permissions were obtained, production began, and “Gene” later be able to composite remastered producer. Rain for a commercial promoting the AN ICON REBORN footage of Kelly from the redigitized latest incarnation of the Volkswagen Golf was shot by NE-O and DP Patrick Duroux Production Company The goal of the spot is to position over three days on a stage (equipped master of the movie onto the dancers’ GTI. the Volkswagen Golf GTI, which was bodies, according to MPC producer Stink, London. “We knew from the outset that it was for flooding, by the way) at Shepperton first produced in the ’70s, as an icon. Studios in Middlesex, England. Graham Bird. NE-O, director; Patrick Duroux, DP; either going to be really good or really “We wanted to say it is the original but The compositing proved to be a “We wanted to keep it as authentic Blake Powell, producer. Shot on stage awful,” DDB copywriter Martin Loraine, it’s as up to date as can be with all the painstaking process performed over the who fashioned the spot with DDB art as possible,” NE-O’s Knight said of the modern technology,” Loraine explained. production. “So the set was all real scale, course of two weeks by a team of visual at Shepperton Studios, Middlesex, director Steve Jones under the direction effects artists working on the Inferno, “So we liked the idea of [the theme] ‘The based on the original film set, and we had England. of DDB creative director Jeremy Craigen, Flame and Combustion. In addition to placing Kelly’s head Editorial on the modern dancers’ bodies, MPC also added finishing touches, including Marshall Street Editors, London. the re-creation and movement of Kelly’s Tim Thornton-Allan, editor. shirt collar and tie, and the addition of rain and water droplets to emulate what Post/Visual Effects is seen in the original film. According to Bird, working with The Moving Picture Company, London NE-O, with whom MPC has collaborated Graham Bird, producer; Alex Lovejoy, before, made a complex job easier to visual effects supervisor/lead Inferno original, updated.’ ” quite old-fashioned style lighting, and complete. “They are very post literate, acknowledged. “Whenever you take Based on that concept, DDB sought and it was enjoyable to work with artist; Christophe Allender, lead Inferno something old and try to update it, there for the camera, we used an old crane on out true originals and toyed with the wheels, which is a more traditional way directors who understand the demands artist; Nico Cotta, Ziggy Zigouras, Dan is a lot that can go wrong.” idea of featuring everyone from Frank of post production,” Bird remarked. “I However, the gamble paid off for the of doing it rather than using Technocranes Sanders, Darren Christie and Eileen Sinatra to Fred Astaire in their new spot. and motion control. We also used real think their ability to accommodate our agency behind what is a breathtakingly Ultimately, the agency chose to go with needs resulted in the success of the actual Chang, Inferno artists; Giuliano Cavalli brilliant spot directed by NE-O—the dancers’ bodies rather than doing fancy Kelly, realizing that he—as well as the spot.” and Daniel Adams, Combustion artists; Stink, London, directing duo of Jake editing.” film Singin’ in the Rain—best reflected Three dancers—each with a “Gene” was edited by Tim Thornton- Knight and Ryoko Tanaka—and featuring the fun, lighthearted and energetic Allan of Marshall Street Editors, London. Jean-Clement Sorent, colorist. visual effects produced by The Moving different specialty—“played” Kelly in qualities of the Volkswagen Golf GTI as the spot. Jay Walker is featured in the In keeping with the style in which the Sound Picture Company (MPC), London. well as its iconic status. original film sequence was cut, you’ll Following the same city street route initial moments, then David Elsewhere is 750mph, London. Before production could begin, seen in the bulk of “Gene,” and a dancer taken by Kelly in Singin’ in the Rain’s however, DDB had to complete a series Andy Humphreys, mixer. 6 THE BEST WORK YOU MAY NEVER SEE THE BEST WORK YOU MAY NEVER SEE THE BEST WORK YOU MAY NEVER SEE THE BEST WORK YOU MAY NEVER SEE THE BEST WORK YOU AMV BBDO Slows Down For U.K. Department Of Transport Accident Victim Comes To Life When Car Speed Decreases By 10 MPH Supered across a black background is the message, “It’s 30 for By Robert Goldrich a reason. Think!” young girl lies dead by the side of a suburban road, her Titled “Lucky,” this spot graphically illustrates the lethal body propped up against a tree. Yet without any medical consequences of increasing a vehicle’s speed by just 10 miles per A aid, she miraculously comes back to life in this TV/cinema hour. A little girl’s life is saved by a driver being cognizant of and :30 for the U.K. Department of Transport, directed by Walter Stern obeying the speed limit. Eerie and unsettling, the commercial has of Academy, London, via Abbott Mead Vickers BBDO, London. an emotional impact while also provoking thought—and hopefully Slowly, we see the fatal injuries she has sustained start to heal. adjusting behavior—in regard to driving responsibly. Click Poster To View "Lucky" Blood oozing from her ear gradually reverses its course and flows The core creative team at AMV BBDO consisted of art director back inside her, disappearing from sight. Her mangled, broken Andy McKay, copywriter Mary Wear and producer Trish Russell. arms twist back into place. Laura Kaufman produced for Academy. The DP was Alex Barber. Knight deployed the same Flame techniques developed by The The girl’s voiceover gives us context for what we’re witnessing. Editor was Rick Russell of Final Cut, London. Colorist was Mill for Levi’s famed “Twist” spot (directed by Frank Budgen of “If you hit me at forty miles per hour, there’s around an eighty Adam Scott of The Mill, London. Gorgeous Enterprises for BBH, London) in order to manipulate the percent chance I’ll die.” The Mill created the visual effects, which breathed life into the girl’s broken arms in “Lucky,” healing the bones before our eyes. An invisible force then moves the girl’s body from the tree story—and into the girl. Visual effects supervisor/lead Flame artist (Budgen is repped stateside via bicoastal Anonymous Content.) to the middle of the road. “If you hit me at thirty,” continues her Chris Knight of The Mill had to reverse her fatal injuries before our Other members of The Mill’s team included producer Ben voiceover, “there’s about an eighty percent chance I’ll live.” eyes in a believable manner. Towards that end, the creative decision Hampshire, with Flame assistance from Danny Morris. Suddenly the girl looks up and takes a deep breath. She is alive was made to depict an organic, random transition. Rather than just Sound designer/audio mixer was Parv Thind at Wave again. The impact of the car didn’t throw her as far, reducing the fading between bruised and then clean skin, the scene went for a Recordings, London. Music composer was Mark Revell at Square severity of her injuries. gradual transformation that for the viewer is harder to watch but Peg, London. An adult voiceover intervenes: “Hit at thirty miles per hour, more poignant and moving. It’s painful yet emotionally riveting to The child actress was Ronnie Creed. The child voiceover was eighty percent of people live.” see the girl’s broken limbs twist back into their normal positions. provided by Courtney Fudge. “Little Girls” with what the YWCA does to negative sentiments, as reflected in the By Robert Goldrich spot tagline: “Eliminating racism, empowering women,” accompanied his black-and-white spot from Bozell & Jacobs, Omaha, shows by the Web site address, www.ywca.org. little girls engaged in fun, constructive activities at YWCA “Little Girls” was directed by feature filmmaker Bronwen Tcenters—dancing, playing guitar, studying together, reading in Hughes (Harriet the Spy, Forces of Nature, Stander) of Santa Monica- the dark by flashlight, playing with bubbles, bike riding and socializing. based Independent Media. Susanne Preissler executive produced for This in and of itself would make for a feel-good PSA that promotes Independent Media. Max Malkin was the DP. the services, resources, recreational opportunities and the sense of Music producer Nicole Dionne of Primal Scream, Los Angeles, community that can be experienced at the YWCA. But the piece takes on had composer Billy West create seven separate melodies for the spot, an added thought-provoking dimension when these scenes play against turning out music that helps to drive the creative. a soundtrack of hip-hop and rap tunes that fade in and out, all of them The creative team for Bozell & Jacobs consisted of creative referring to the girls in negative demeaning language (“bitches,” “hos” director/copywriter Cliff Watson, art director Erica Rowe and producer and telling them to “get out of my face.”). Nan Pike. Seeing the images of the girls in a positive light juxtaposed with the The spot was cut by Meg Kubicka of The Whitehouse, Chicago. music lyrics makes the songs sound absurd and bizarre, which coincides Audio post mixer was Dave Gerbosi of Chicago Recording Company, Chicago. Click Poster To View "Little Girls" 7 BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRANDSTAND BRA Desperate Housewives Takes The Buick LaCrosse For A Spin Series Producers Cleverly Integrate The Vehicle Into A Humorous Storyline.

By Christine Champagne mall. Lynette and Tom spotted her. Forced to manager) to see if there was Displaying a talent for zoning in on what’s Standing in front of the car, which chat with the couple, Gabrielle nervously interest, according to Buick hot in pop culture and a refreshing sense sat on a rotating platform at the mall, claimed that she was at the mall shopping spokesperson John Wray. of humor, the marketing team at Detroit- Gabrielle, clad in a gown, spoke into with a friend. There was, of course. based General Motors Corporation’s a microphone, announcing, “I present START HER UP Buick saw the inclusion of Buick division partnered with the to you the fabulous Buick LaCrosse! It the Buick LaCrosse in a The integration of a Buick vehicle television series Desperate Housewives, has expertly crafted interior, peaceful storyline on the series as a into a storyline on Desperate Housewives which is produced by Touchstone QuietTuning and ultrasonic rear parking creative means to raise brand was—in some ways—a logical Television and airs on ABC, to promote assist. Observe the remote activation awareness for the car—which progression. After all, the carmaker has the Buick LaCrosse. feature.” only hit showrooms last been running commercials during the As fans of the show will recall, the While clicking a remote to start fall—among the female, baby campy primetime soap that centers on Buick LaCrosse was featured in a recent the car, Gabrielle spotted her neighbor boomer demographic, Wray the lives of suburban women, and the storyline that found Gabrielle Solis Lynette (Felicity Huffman) and Lynette’s explained. character Lynette actually carts her baby (Eva Longoria) seeking modeling work husband Tom (Doug Savant) approaching. But accepting the pitch and three rambunctious boys around in a to bring in money to keep her upscale Mortiﬁed, status-conscious Gabrielle lost proposed by the producers Buick Rendezvous. household running after her wealthy track of her scripted pitch and quickly ad- of Desperate Housewives Given these ties between Buick and husband Carlos (Ricardo Chavira) wound libbed, “Uh, and it also has a lot of exciting involved a great deal of trust so talented at that level that it would be Desperate Housewives, the producers of up in jail with his assets frozen. A former other cool car things,” while trying to slip on the part of Buick, which had absolutely counterproductive to put them in a box.” the show naturally thought of Buick when high-fashion model perhaps a bit past her away unseen. no say in the scripting of the storyline The writers did require background Gabrielle’s car spokesmodel storyline prime, Gabrielle reluctantly accepted an But Gabrielle’s attempt to avoid and no script approval. “We couldn’t information on the Buick LaCrosse, came up and contacted the company assignment serving as the spokesmodel her neighbors was foiled when her dress put handcuffs on the creative people,” though, so Buick sent them a list of talking (Jill Cooney is Buick’s advertising for the Buick LaCrosse at a local shopping got caught in the rotating platform, and Wray reasoned. “They are so good and points that the company uses to sell the vehicle. “We mentioned that QuietTuning Volkswagen Gets Feet Wet With Gene Kelly is a Buick exclusive, one of the ways we’re really promoting the vehicle, and distribution, the spot has created a they picked up on that, and they used it tremendous amount of buzz worldwide notice that Thornton-Allan also used [in the script],” Wray said, noting, “But it as it has been circulated—albeit long takes. was totally up to them.” unauthorized—via the Internet. (At It was this type of attention to detail The leap of faith paid off for Buick. press time, SHOOT hadn’t gained legal from everyone involved in the production The writers of Desperate Housewives clearance to show the entire commercial that made the spot spectacular, Loraine integrated the Buick LaCrosse into the in its e.dition—only some lifts from the noted. “Everyone worked very hard. show in an organic manner, with a touch of spot.) Loraine has actually gotten e- Everyone involved knew how important humor. “One of the things we’ve focused mails praising the ad from as far away it was that this be perfect,” Loraine on in the last couple of years is trying to as Brazil and New Zealand and has been commented, adding with a laugh, “and bring out the lighter side of Buick,” Wray interviewed by numerous media outlets, remarked. “So this was a way to have a once we got it all right, it was a relief!” including a news crew from France. little bit of fun with a wink and a smile.” While “Gene” is currently airing Loraine was particularly astounded While measuring the ROI (return on exclusively in the U.K., Loraine said when he learned that “Gene” was recently investment) for any branded entertainment he wouldn’t be surprised if it eventually hailed in The Wall Street Journal. “It endeavor remains somewhat elusive at runs in other markets. hasn’t even run in America,” Loraine this point, the word-of-mouth feedback Despite its currently limited mused. received by Buick on this effort has been positive, Wray reported. 8 Most Creative Client Series

Don’t Judge A Book By It’s Cover: Ameriquest Takes On The Super Bowl convenience store while discussing of late, which include deals with By Kristin Wilcha the price of a new deck. He feels Major League Baseball, as well as ds for mortgage lending that the person on the other end is Ameriquest Field in Arlington, Texas, companies aren’t exactly being “robbed.” As he is chatting, home of the Texas Rangers. The known for creative the store’s owners overhear him, and company also has two blimps, Liberty A believing they are being held up, and Freedom, which make frequent ingenuity—the endlessly airing Ditech spots come to mind as fairly typical begin to attack the would-be thief— appearances over sporting events. of the category. That perception with pepper spray, a baseball bat, and Monteiro says that Kevin Morefield, changed Super Bowl Sunday, when a cattle prod. Ameriquest’s executive VP/strategic Ameriquest Mortgage Company, an In “Surprise Dinner” a guy goes planning, was instrumental in raising Orange, Calif.-based lending firm, over to his girlfriend’s apartment to the company’s creative profile. broke two clever spots—“Mini Mart” cook dinner. As he’s preparing pasta “[Ameriquest] has mainly been a and “Surprise Dinner”—during the sauce, her large white cat knocks the direct-marketing client for years, … telecast of the game. The spots scored pan over, splashing tomato sauce all and Kevin wanted to make a little bit over. The guy, who’s been chopping more noise,” he explains. “They were looking for new ways to step out … and really be a cream-of-the crop "... in the Super Bowl... whatever company.” emotion you want to go for, whether One of the ways to stand out was via sponsorships, including this Mark Monteiro it’s humor, tears or romance, you have year’s Super Bowl halftime show. “They were given the opportunity Monteiro relates that doing one showing a man getting change to do it better than anyone else does.” to sponsor the halftime show, and the spot involved three rounds of from a peep show establishment, and with that came two spots, as part research—two prior to production and another in which a daughter-in-law of the package,” recalls Monteiro. one after. Gillespie was selected to appears to be smothering her mother- direct based on a positive conference in-law with a pillow. Both new ads well with ad industry pundits and onions with a large knife, picks up “They started talking to us back in call, as well as his reel. “He will break in the coming weeks. viewers alike, and raised the profile the sauce-splattered kitty--at the May of 2004. … Our main concern understood [the scripts] perfectly,” Additional agency credits on of the company. same time, his girlfriend walks in the was, you’re going to be in the Super notes Monteiro. “He had a good “Surprise Dinner” and “Mini Mart” Both ads, out of DDB Direct, door, to see her sweetie holding the Bowl. ‘Do you understand what that sense of physical comedy on his reel, go to: Hélène Côté, direct creative Los Angeles, and directed by Craig now red-and-white cat, and wielding means?’ And [Kevin] completely which was important to us, especially director; Vanessa MacAdam, Gillespie of bicoastal/international the knife. The tag line: “Don’t judge understood what it was all about, with a spot like “Mini Mart,” where senior producer; David Hennagin, Morton Jankel Zander, advise to not too quickly. We won’t.” and why you were there, and, that you’re doing something absurd, but it managing director; Pat McKay, senior judge situations too quickly, just as Mark Monteiro, executive whatever emotion you want to go for, was really important to us that it look copywriter; Feh Tarty, senior art Ameriquest doesn’t prematurely creative director at DDB Direct, whether it’s humor, tears or romance, real to balance that.” director; Josh Fell, copywriter; and judge loan applicants. In “Mini Mart,” reports that Ameriquest has been you have to do it better than anyone Two additional spots were shot— Michael Mittelstaedt, art director. a guy on a cell phone walks into a ramping up its sports sponsorships else does.”

9 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWSNEWS NEWS NEW

break into commercials. And some of Meet The Professor: Blue Rock’s Sloane Klevin them have internships at commercial production companies or commercial director in to see the first assembly and solutions to problems quickly. postproduction companies. with a mentor who’s a professional in give notes and the class comes up with I never know what a student is the film business from the field they a set of notes too. We revise the film and going to bring in, what the film is going SHOOT: Do you help them get want to be in. I had been doing that for it is sort of a class where they get to go to look like, how well it’s going to be internships or jobs? years in L.A. and just loved it. Every through the entire editing process from working, what the problems are going year I’d have some film student who dailies to hopefully locking picture. to be. When the lights go up after they Klevin: Yes, I do actually. One was my mentoree and they would come screen it, everybody looks at me and of my students last year actually was and hang out with me at work, or intern SHOOT: What are the challenges they expect me to have ideas and notes my intern on my last movie, and now for me on a movie, or come to sets, or of trying to manage this dual life of about how they can make the film work she’s working as an apprentice over at ADR, or whatever, and I would advise editor and teacher? better and make suggestions. Editing is MacKenzie Cutler [a New York editing them on their student films. all about coming up with solutions of house]. And I have some students who I just really enjoyed it so I wanted Klevin: I taught last night. I how to make something better. And I have been cutting short films. When I to teach and I had applied to UCLA managed to get out of work at 6:30 guess it works the other way as well. get phone calls to do very low-budget and they wouldn’t let me teach there p.m. and go to start teaching at 7. I was The more I edit, the better I get at it. features or shorts that I don’t have time because I didn’t have a master’s degree. really tired when I left [the office], but So the more ideas I have when I go and to do, I’ll pass on the names of my Then I was in New York freelancing for the work the students are all doing is meet with my students, the more I can students and often times they’ll take the Blue Rock cutting some commercials so exciting and the process of coming offer them in terms of inspiration. job. It depends on what their interests and I met a friend of a friend who up with ideas of how they can improve are. was the chair of the Columbia Film their films sort of invigorates me. So by SHOOT: They must be thrilled School. One of their editing professors the time I leave there, I’m wired instead to have a working professional right SHOOT: So what do you see in this had just died…They were looking for of exhausted because it’s exciting. But there at their disposal to learn from. new generation of talent? Is it different a replacement and she met me at this I couldn’t do more than one class a from when you were in school? cocktail party and we talked for a while semester. Klevin: I think so. A lot of times, and she offered me the job. She just said, In commercials there’s a lot of rather than talking about their projects, Klevin: Yes, they have so much Sloane Klevin downtime when you’re waiting for they want to talk about, “What is it like “I think you are going to be perfect for more technical knowledge. When I was helped me when I started out and I feel changes, you’re waiting for a response. in the real world? How did you break in? this,” and I had really always wanted to in school, there was no digital video, no like the whole film business is based on Maybe your cuts are approved but How do you break into commercials? teach so I thought, “I’m just going to high-def, no Avid or Final Cut Pro. From personal connections and people helping you’re not going to conform right away, How do you break into features? What structure my life so I can do it.” I teach all of this readily available equipment, each other out and recommending each you’re waiting for effects or something, are my chances of getting a job? What at night. students today have much more hands- other. I had help from people along the so it’s not hard to find a day every are the politics involved? What are the on experience. They all have laptops way and it [teaching] is a way to sort SHOOT: What class are you couple of weeks or every few weeks most important skills I need to work with Final Cut Pro. They are much more of give back and continue that. I also teaching now? when I can go up to school and meet on?” Because they’re all graduate skilled in shooting, editing and graphics get really inspired by my students, by students. There’s always a morning or students, they’re eager to get out there because of the whole computer-based their enthusiasm and their creativity, Klevin: an afternoon you can break away, or I and start making a living. They don’t In the fall I teach editing to workflow and all the programs they their talent and intelligence—and it’s have students come here [to Blue Rock] want a teacher who doesn’t really work second-year graduate students [who are have at home. fun. Also, they’re the commercial and if I can’t break away. in the business. They want to know editing their own films which they shot film directors of the future and I’m sort what it is really like out there and what in the spring]. SHOOT: You’ve told me how you of meeting them now which is really SHOOT: How does teaching are the professional challenges…. In the spring semester I teach an got into teaching, basically through the exciting for me, to sort of watch them influence your professional practice They want to have as many advanced editing class, which I sort mentoring program in Los Angeles. throughout their careers. Right now I’m and vice versa? options as possible. And I think people of created [for students in their third But what drives you to continue to actually cutting a short film on the side are realistic with them about their year], where as a group the whole class teach, to take a path that most people for one of my ex-students. It’s just a Klevin: I think teaching—especially chances of getting out of school and edits another student’s thesis film…. don’t pursue? great way to meet really talented people the way that the Columbia program immediately getting work as a director The class edits the scenes over a certain and it’s fun to watch them grow. period of time and we wind up with is set up—is really good practice for or an editor of features. That’s a long- Klevin: First of all, a lot of people a first assembly. Then we invite the being on your toes and coming up with term goal. They would all love to 10 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWSNEWS NEWS NEW Motion Picture Academy Presents Sci-Tech Awards; Panavision, Louma Earn Oscars In addition to these honors, the Academy’s Madden and Bill Lorton for the development During his acceptance speech, Kapler descriptions of honored technology. At one point, Board of Governors awarded two Scientific of the Giant Studios motion capture technology, thanked “the Academy for celebrating the Johansson broke from the script and prompted a and Engineering Awards, presented in the form which applied a unique biometric approach technology of filmmaking and Digital Domain chuckle when she admitted, “I have no idea what of plaques; and nine Technical Achievement that has influenced the development of motion for the opportunity to create this software.” this means.” Awards, presented as certificates, based upon capture technology. Academy certificates were also awarded During the evening, Johansson presented recommendations from the Scientific and Motion Analysis president/CEO Tom to Greg Cannom and Wesley Wofford for the Oscar statues for technical achievement to the Technical Awards Committee. Whitaker told SHOOT that he views the pivotal development of their special modified silicone creators of two camera crane systems, as voted The Scientific and Engineering Awards went project in this recent surge in motion capture material for makeup applications, allowing for the on by the AMPAS Board of Governors. The to Gyula Mester and Keith Edwards for their interest to stem from “Gamebreakers,” the creation of either partial or full-face appliances statues went to Horst Burbulla for the invention contributions to and continuing development Nike ad from Wieden + Kennedy, Portland, for makeup effects that move like real flesh, and continuing development of Panavision’s of the aforementioned Technocrane telescoping Ore., directed by David Fincher of bicoastal have translucency similar to skin and will accept Technocrane telescoping camera crane with its camera crane; and Lindsay Arnold, Guy Anonymous Content. This mostly computer standard makeup materials; to Jerry Cotts for electronically driven leveling head, adjustable Griffiths, David Hodson, Charlie Lawrence graphics spot, featuring CG from Venice-based the original concept and design and Anthony moveable weight carriage, and lightweight, and David Mann for their development of Digital Domain, used motion capture to grab the Seaman for the engineering of the Satellight-X extremely precise telescoping beam elements Kodak’s Cineon Digital Film Workstation, a moves of several NFL stars. HMI Softlight, which provides a diffuse light that allow camera movement during shots; node-graph compositing system that established “That commercial elevated the whole state to simulate daylight in location interiors, where and to Jean-Marie Lavalou, Alain Masseron a new visual method for direct manipulation of of the art,” asserted Whitaker, noting that it space is often limited; and to Nelson Tyler for and David Samuelson for the engineering and the compositing process. Although Kodak exited raised the bar in terms of realism and the ability the development of the Tyler Gyroplatform development of the Louma Camera Crane and the Cineon hardware/software business in 1997, to capture multiple characters. boat mount stabilizing device whose 2-axis, remote system for motion picture production. The the technology remains the foundation for many The aforementioned Madden, who sent hydraulically-powered camera mount successfully Louma pioneered a remotely-operated camera digital image processing systems and serves as special thanks to Giant Studios president eliminates the pitch and roll associated with camera head combined with a lightweight and portable the fundamental imaging science architecture in Candice Alger (an alum of Atlanta’s Crawford shots taken from a boat in the water. modular crane, and its design has proved to be many of Kodak’s current hybrid products. Communications and the commercial post Finally, the Academy honored the makers of the inspiration for numerous subsequent remote The Academy validated the use of the industry), said that in general, mocap has opened two audio products—both designed to suppress camera systems. motion capture process by awarding Academy up new possibilities for production that involves noise—with Academy Certificates: Steven E. The Gordon E. Sawyer Award was bestowed certificates to three mocap developments. They the integration of characters into environments. Boze for the design and implementation of on Panavision innovator Takuo Miyagishima were presented to Dr. Julian Morris, Michael He emphasized that this process assists a director the DNF 001 multi-band digital audio noise for his lifetime of technological contributions Birch, Dr. Paul Smyth and Paul Tate for of photography in framing shots. suppressor whose real-time digital approach to the industry. Miyagishima summed up that the development of the Vicon motion capture An Academy certificate was presented to provided accurate filter response with minimal his motivation has always started with the technology, which offers special-purpose cameras Alan Kapler for the design and development interaction, allowing noise attenuation with customers—listening to them and developing for motion capture with software systems; Dr. of Storm, a software toolkit that he developed at fewer artifacts; and Dr. Christopher Hicks and what they truly need to advance their art. John O. B. Greaves, Ned Phipps, Antonie J. Digital Domain for artistic control of volumetric Dave Betts for the design and implementation As well, an Award of Commendation was van den Bogert and William Hayes for the effects. “Storm” employs an efficient method for of the Cedar DNS 1000 multi-band digital noise presented to Arthur Widmer for his achievements in development of the Motion Analysis motion directly manipulating volumetric data to create suppressor, designed to reduce background noise the science and technology of image compositing capture technology, also special-purpose cameras effects such as clouds, water and avalanches with from recorded dialog. as exemplified by his significant contributions for motion capture with software systems; and familiar operators inspired by image compositing “Noise suppressors make unusable footage to the development of the Ultra Violet and the to Dr. Nels Madsen, Vaughn Cato, Matthew and painting operations. usable,” Hicks simply summed up. bluescreen compositing processes. 11 Classifieds SHOOT HELP WANTED PRODUCTION SERVICES - DUPLICATION REPRINTS

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12 street talk The Entertainment Industry Development Corp. (EIDC)—a private nonprofit that facili- tates on-location film, TV and commercial production in Los Angeles and surrounding areas—has elected Steve Dayan, a business agent with Teamsters, Local 399 (Studio Drivers and Location Managers), to chair its 2005 board of directors. The EIDC also oversees the joint Los Angeles City/County Film Office. The EIDC board consists of members from the industry, labor, the business/civic sector, and residential representatives. Among the industry players on the board are Randy Winograd of SBE Entertainment Group, Culver City, Calif., and Steve Caplan, executive VP of the Association of Independent Commercial Producers…. Director Brandon Dickerson, formerly of bicoastal X-Ray Productions, has returned to kaboom productions, San Francisco, for representation in commercials. He continues to be handled for music videos by X-Ray sister shop, Merge@Crossroads….Cheri Anderson has been named executive producer of the New York office of bicoastal/international Believe Media., a company founded by executive producers Liz Silver and Luke Thornton. Anderson most recently served as a freelance producer. Prior to that, she was director of project development at bicoastal Tool of North America, and a senior producer at TBWA/Chiat/Day…. Media Distributors has named former Sony executive Tom Evans as senior VP/managing partner-Eastern operations. He will head the company’s recently launched New York office. A dis- tributor of professional media products for the entertainment industry, including videotape, film stock, recording media and storage and data media products, Media Distributors also maintains operations in Studio City, Calif., Seattle and Las Vegas….. rep report Jennifer Hertslet has come aboard production house Highway 61, New York, as its head of sales…. Avalanche Productions, New York, has secured representation, bringing Angela Leali and Devon St. John on board in New York…..Astra P. Schwartz Dorf has joined New York-based design and branding studio CA Square as marketing director….Tony Fox has been promoted from sales manager of eastern North America to overall director of marketing at Coral Springs, Fla.-headquartered da Vinci Systems….Montana Artists, Los Angeles, has signed DP Ryan Gaw for exclusive representation in all areas…. bulletinboard ❑ Feb. 23-26/Greensboro, N.C.: University of North Carolina at Greensboro Carolina Film and Video Festival. www.uncg.edu/bcn/cfvf/…. ❑ Feb. 28/New York: Association of Music Producers (AMP) call for entries deadline for the 2005 AMP Awards for Excellence in TV Commercial Mixing. Liz Myers, (310) 546-3505; www.ampnow.com…. ❑ March 2-13/San Jose, Calif.: Cinequest Film Festival. www.cinequest.org…. ❑ March 3-6/Sedona, Ariz.: 11th Annual Sedona International Film Festival & Workshop. www. sedonafilmfestival.com…. ❑ March 4-7/Toronto: Female Eye Film Festival 2005. www.femaleeyefilmfestival.com…. ❑ March 4-13/Durango, Colo.: 5th Annual Durango Film Festival. [email protected]; www.durangofilmfestival.com…. ❑ March 10-20/Cleveland: Cleveland International Film Festival. www.clevelandfilm.org…. ❑ March 10-20/San Diego: San Diego Latino Film Festival at Mann Theatres. www.sdlatinofilm. com…. ❑ March 10-20/Montreal: The 23rd International Festival of Films on Art (FIFA). www.artfifa. com…. ❑ March 11-20/Austin, Texas: SXSW South By Southwest Festivals + Conferences. www.sxsw. com…. ❑ March 30-April 2/Wilmington, N.C.: 11th Annual Cucalorus Film Festival. www.cucalorus.org…. ❑ March 31-April 3/Madison, Wis.: 7th Annual Wisconsin Film Festival. www.wifilmfest.org…. ❑ March 31-April 3/Vail, Colo.: 2005 Vail Film Festival. www.vailfilmfestival.org…. ❑ March 31-April 4/Ashland, Ore.: Ashland Independent Film Festival at the Varsity Theatre. (541) 488-3823; fax: (541) 488-7782; [email protected]; www.ashlandfilm.org…. 13 ORDER THE ‘04/’05 EDITION OF THE SHOOT DIRECTORY NOW!

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