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Joe Pytka Hits Grupo Gallegos Sweet “Spot” For Attains Budweiser And Immortality For DDB Chicago Energizer page 14 page 15

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION February 23, 2007 $5.00

Paying Homage To The Saatchi Late Walter Tannenbaum A remembrance of the venerable head Goes Long of production at Ted Bates “back in the day” underscores not only the Changing For Toyota man’s work but also his contributions By Robert Goldrich to industry lore. The way Tannen- DAYTONA BEACH, Fla.—Saatchi & baum led his life demonstrates the Saatchi LA, Torrance, Calif., has hit value of maintaining a positive out- the fast track when it comes to long- look as well as a genuine love for the Channels form content, turning out a pair of business and its people. ambitious hour-long documentaries See page 4 Media Shift Translates Into New Production for client Toyota, including the high- profile Chasing Sunday, The Race To Serial Dreamer Links Cup, which premiered on the FOX With Reactor Films As Reflected In Bud.TV, Other Outlets network this past Sunday (2/18) just Director Erick Ifergan enters his bou- prior to the pre-race show for the tique house into a deal with Reactor By Robert Goldrich Daytona 500, an event regarded as for U.S. spot production and represen- the Super Bowl of stock car racing. tation. Reactor fortities its directorial LOS ANGELES- “This is good news for your [SHOOT’s] reader- The Daytona 500 marked Toyota’s roster with Ifergan and director Da- ship—the amount of production should increase,” said John Nextel Cup stock racing debut. vid Preizler while Serial Dreamer taps King who recently returned to Fallon Minneapolis to run The long-form initiative for Toyota into veteran exec producer/Reactor its Connection Planning department. underscores the evolving content/me- owner Michael Romersa for sales and The catalyst for a significant production up- dia space, which agencies and clients commercialmaking support. swing is the changing media landscape. have to navigate in order to reach See page 4 “The ratio of money spent for production desired audience. However Chasing Tom Ohanian Visits as compared to placement is shifting,” Sunday breaks what’s been fash- observed King. “With new ways of dis- ioned thus far of the branded content SHOOT’s Chat Room tribution [e.g., online entertainment, mold in that it’s a documentary that The filmmaker, editor and designer cell phone/hand-held devices, as shows Toyota’s entry into the NAS- who’s best known as the co-inventor opposed to just buying primetime CAR Nextel Cup circuit, warts and of the Avid Media Composer, which broadcast time], there’s a need to all. And in this case the documentary revolutionized editing, discusses put money towards making dif- carries historical significance in that it his role as VP of product develop- ferent forms of content instead chronicles the first major non domes- ment at digital media distribution of getting it placed. There are tic automotive entry into the NAS- management tools company Signi- multiple audiences and you CAR stock car racing fray in nearly 50 ant, the industry’s future and the need more at-bats to reach years—with some NASCAR followers importance of training programs to them.” objecting to the inclusion of a foreign support new products. At the same time, King cau- car manufacturer. See page 12 tioned that commercial pro- Indeed Toyota’s participation in the duction houses “have to learn Nextel Cup derby has been a preva- Putting Producers In A Continued on page 13 lent topic in the NASCAR commu- photo credit: bldhs050225mehul(RF) Continued on page 7 State of Mind Newly enacted spot incentives look to “Dragon” Slays Competition For Annie Award spark business in the GLENDALE, Calif.—For the third Acme Filmworks, Hollywood, this mund Krumme of Acme Filmworks Seamus Walsh and Mark Caballero Big Apple. consecutive year, a United Airlines year the winning entry, “Dragon,” for Young & Rubicam, Chicago; of ka-chew!, Hollywood, for agency See page 10 spot from Fallon, Minneapolis, topped was helmed by Jamie Caliri of DUCK ESPN’s “Believe” directed by Mark Maris, West & Baker, Jackson, Miss. the commercials category at the An- Studios, Los Angeles. Gustafson of Portland, Ore.-based A stop-motion :60 that debuted in nie Awards competition, which rec- “Dragon” was honored at a gala Laika/house for Wieden+Kennedy, select markets during the ‘06 Super ognizes outstanding achievement in Annie Awards ceremony held earlier New York; the St. Louis Zoo’s “Gi- Bowl telecast and shortly thereafter animation. But unlike the past two this month at the Alex Theatre in raffe” helmed by Miles Flanagan of went national on the Winter Olym- years when the United spots—”Mr. Glendale. “Dragon” topped a field of Z Animation, Eagle Rock, Calif., for pics, “Dragon” centers on the close- Pants” in 2006, and “Interview” in nominated spots at the 34th annual Advertising Savants, St. Louis; and knit relationship between a father and ‘05—were directed by the team of Annies that consisted of: Hilton’s The Partnership for a Healthy Missis- son—one that continues, in a different Wendy Tilby and Amanda Forbis of “Dancing Couple” directed by Rai- sippi’s “Candy Factory” directed by Continued on page 7

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spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Post Game February 23, 2007 Volume 48 • Number 4 In this politically test did. I thought “Mechanics” was get through so many approval pro- Chevrolet or the NFL were probably www.SHOOTonline.com correct era—or er- in the upper echelon of what was by cesses and make it on air....That was disappointed with what was ultimate- EDITORIAL Publisher & Editorial Director ror, which might most accounts a rather lackluster crop the biggest debacle I saw through ly chosen. And now those people are Roberta Griefer 203.227.1699 ext 13 [email protected] be a more apt description—some Su- of Super Bowl ads this year. the whole game.” probably less likely to be consumers per Bowl work didn’t make the cut. But I was stunned to see the GM So from a marketing perspective, of the brand than if they never partici- Editor Robert Goldrich Snickers’ “Mechanics,” in which two spot. Given the massive layoffs at that spot was off base. And so to an pated in a commercial contest.” 323.960.8035 [email protected] men meet in the middle of a Snick- the company and its well chronicled extent was the consumer-generated Still there was inspiration to be Sr. Editor/Technology & Postproduction Carolyn Giardina ers bar and end up kissing, got pulled financial problems, the notion of content experiment. found on Super Sunday. 323.960.8035 [email protected] after objections from GLADD and showing a worker—albeit a robot— Wolfsohn related, “It’s kind of “What’s funny,” observed Associate Editor others who felt that the Nicole Rivard 203.227.1699 ext. 16 [email protected] ad was homophobic. “What’s funny is some of the best ‘Super Bowl’ advertising I saw was Meanwhile the GM Associate Editor actually on another channel, Animal Planet [with its Puppy Bowl].” Ken Liebeskind commercial in which a 203.227.1699 ext. 17 [email protected] robot becomes despondent after be- getting pink-slipped would seem like one of my philosophies in run- Wolfsohn, “is some of the best Contributor ing fired from a factory assembly line among the last storylines that GM ning a creative department—in a lot ‘Super Bowl’ advertising I saw was Christine Champagne will be revised. In the original spot, should embrace. of different shops, they put three, actually on another channel, Ani- ADVERTISING East/Midwest/Canada the robot commits suicide by jump- Mike Wolfsohn, one of several cre- four or five teams on an assignment. mal Planet, which does The Puppy Robert Alvarado ing off a bridge—only for viewers to ative directors SHOOT canvassed for That guarantees that one team will Bowl, three hours of puppies play- 203.227.1699 ext. 15 [email protected] find out that it was all a bad dream. feedback on the Super Bowl commer- be happy and the others will be dis- ing on a small football field, with International Roberta Griefer But a suicide prevention organization cials, concurred. appointed at the outcome. a kitty halftime show. Between 203.227.1699 ext. 13 [email protected] criticized the ad, prompting GM to an- Wolfsohn, who is VP/creative di- “Similarly while the intention of quarters, a Bissell vacuum comes West Coast nounce it would make changes to the rector at Ignited Minds, Marina del consumer-generated content was to in and cleans up, taking care of the Carl Gilliard 818.763.2678 [email protected] commercial before it airs again. Rey, Calif., observed, “It just blew get tens of thousands of consumers in- furry mess. It integrates the vacuum Personally I didn’t take offense to my mind that anything having to do teracting with the brand leading up to product category beautifully with Advertising Production Gerald Giannone either commercial—at least not in the with employment at GM, particular- the Super Bowl, all those people who the game. It’s a really smart, solid 203.227.1699 ext. 12 [email protected] same way that those reacting in pro- ly in a negative connotation, could contributed to ideas for Doritos or marketing idea.” Classified 203.227.1699 ext. 12 [email protected] OFFICES Main Offi ce POV 21 Charles Street #203 Westport, CT 06880 USA By Thad Spencer 203.227.1699 Fax: 203.227.2787 West 650 N. Bronson Avenue, Suite B253 Los Angeles, CA 90004 USA Mixing For The Big Screen 323.960.8035 Fax: 323.960.8036 Circulation As advertisers look be quite different for a cinema mix At Asche & Spencer we use a sort of effortless access to this amazing mix- 203.227.1699 ext 12 [email protected] for more inventive than for a TV mix. one-man band approach. We gather ing environment. Editorial Production Manager/Reprints/Article Rights ways to broadcast Most TV mixing suites are built all of the audio elements for the If your spot is going to play in Michael Morgera 203.227.1699 ext. 11 [email protected] their messages, an increasing number around a digital audio workstation like commercial and organize them into theaters, I strongly urge you to

© 2007 DCA Business Media LLC. All rights reserved. of commercials are being produced Pro Tools. The engineer loads the au- a Pro Tools session created to inter- take the extra step to ensure it will No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, for theatrical release. Unfortunately dio elements into the computer and face smoothly with the stage we are sound as good as it looks. Remem- electronic, mechanical, photocopying, recording, or otherwise, many of these cinema commercials the entire mix is created within the Pro working on. One of us then brings the ber sound is 50 percent of the the- without the prior written permission of the publisher. look better then they sound. Tools environment. For cinema the session data to the stage and attends ater experience. For Subscription Service Inquires and Subscription Orders, Please call: A movie theater is calibrated to stage mixer is doing all of his work on a the mix working in place of the mu- Thad Spencer is creative director/ 1.847.763.9620 playback audio with massive low- 500 input mixing console, not in a com- sic, dialogue and sound effects editor. owner of Asche & Spencer, which has SHOOT (ISSN# 1055-9825) printed edition is published bi- weekly except in January, July, August, and December when end and a series of mid to high range puter. During a feature film mix the This streamlined method works very bases of operation in Minneapolis and published monthly) for $125.00 per year by DCA Business Media LLC, at 21 Charles Street, Westport, CT 06880. Printed speakers arranged to deliver three-di- amount of audio tracks playing simul- well and gives our advertising clients in Venice, Calif. periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to mensional sound. To take advantage taneously is far more then one digital SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. of this amazing audio platform you audio workstation can handle. So the USPS (06-234) need to mix your project in a studio console becomes the central worksta- Flash Back For SHOOT custom reprints please contact Michael Morgera 203.227.1699 ext. 11 or email to: mmorgera@ designed to replicate the theater en- tion and multiple Pro Tools systems are February 15, 2002 Director Mark Pellington has returned to his shootonline.com vironment. These studios are called used as playback devices. These con- longtime spot roost, Crossroads Films, bicoastal and Chicago, after a SHOOT >e.dition published weekly except in January, mixing stages; they are essentially soles sound amazing and offer a level year and a half at now defunct Propaganda Films. Additionally Chuck July, August, and December when twice monthly. Bennett and Clay Williams, a helming team at Crossroads for the past iSPOT, the digital newspaper for broadband video movies theaters with a mixing con- of audio clarity no computer-mixing advertising, is published weekly on Wednesdays. For sole in the center. environment can come close to. two years, have decided to direct individually....Noted feature and further information go online to www.shootonline. com/go/ispot Many agency producers confuse a Work flows differently on a mix commercial director Simon West, formerly repped by Propaganda SHOOT is produced in the U.S.A. “surround mix” with a theatrical mix. stage than in a TV mixing suite. The films, has signed with Ritts/Hayden, the Los Angeles-headquartered SHOOT is a member of Often these “surround mixes” are engineer stays at the console while commercial and music video production house.... produced in small suites designed to others monitor the various Pro Tools replicate the requirements for TV but machines. If a sound or musical ele- February 21, 1997 London-based directors Stuart and Andrew often the room size and equipment in ment needs editing, these people Douglas, a.k.a. the Douglas Brothers, have decided to begin helming these facilities is far from adequate for make the edit on the appropriate Pro projects individually after years of working as a team....CEO/co-found- creating an accurate theatrical mix. Tools systems, freeing the engineer to er Michael Porte has sold his ownership stake in Mad River Post back Make sure your composer or sound continue his work. In features these to the company for an undisclosed price....Northvale, N.J.-based Video Services Corp. and Beverly Hills, Calif.-headquarted Virgin Digital designer knows that the spot will play people are the music, dialogue and Studios have jointly formed a new company, E-m@gazine, a new type both on TV and in theaters. It helps if sound effects editors. In commercials of communications company that develops and utilizes the latest in these people have experience in cine- we rarely see audio editors in our mix digital technology.... ma and TV. The reason for this is that sessions so we have to create our own the delivery of the audio elements will method for working on the stage. 2 SHOOT February 23, 2007 www.silvertruckslighting.com

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People & projects A Remembrance: Producer/Storyteller Walter Tannenbaum By Matt Miller landed just down the street from his knew he was near the end, his eyes was head of production at Curious the eulogies and organized the obitu- This month, a man who meant a great house on the Iona Prep football field lit up whenever he reminisced about Pictures, he was a producer’s pro- aries. This was all produced by my deal to me passed away. His name was –because they could. Up until the the industry he loved. He lost himself ducer right up until the end. Brown beloved father in-law.” Walter Tannenbaum. If you didn’t other day, his wife thought he walked in fond memories and loved to hear shared that “he demanded that the While Meridith never worked with know Walter–or Wally as I knew him– from the train that night. Or the time about a few new (and not so new) directions between the synagogue, him, she reminisced, “Whenever we it truly was your loss. But please read he was doing a shoot with the Stanley challenges his industry was facing. the cemetery and the house be driven were together, which was often, he’d on. Walter was the head of production Cup. When things hit a snag in the According to his daughter in law, and distributed in advance. Mapquest ask about my work. From the start, it at Ted Bates “back in the day.” He production, he went to the Hockey Meridith Brown, who until recently would not suffice. He pre-arranged Continued on page  was also one of my family’s closest Hall of Fame to pick up the cup him- and a man I have known since self. As he was speeding with Lord I was born. Although retired from the Stanley’s Cup in the back seat of his Reactor Lands Dirs. Ifregan, Preizler industry, his heart never really left it. car, it became quite an explanation to Whenever we spoke, he always want- the officer who pulled him over…espe- By Robert Goldrich need for stronger support in secur- and Singapore. Serial Dreamer’s U.S. ed to know, “What’s the gossip?” cially in Canada. SANTA MONICA—Director Erick ing and facilitating choice work from ad activity has been up to this point Walter loved stories about the One of the last things Wally said in Ifergan, who took his longstanding American ad agencies. This led to highlighted by an Ifergan-helmed Serial Dreamer banner and turned it his exploring prospects for entering Commit smoking-cessation spot for Walter Tannenbaum into a full-fledged production com- into a relationship with a well estab- Arnold, Boston. pany about a year and a half ago, lished U.S. house, with Reactor and its Ifergan, who resides in Southern loved stories about the has now linked that shop with Santa owner/executive producer Michael California, has a spot filmography business....but mostly, he Monica-based Reactor Films for state- Romersa ultimately winning out. spanning American and overseas side spot representation. While Se- Serial Dreamer has been busy the agencies. On the former score, his loved telling them. rial Dreamer will maintain its West past 18 months, largely centered on credits over the years include Sony Hollywood office and continue to European and Asian work directed by PlayStation2 for TBWA/Chiat/Day, business. He loved hearing them, but my recent visit with him is, “When handle international shoots, Reactor Ifergan, including a worldwide cam- Los Angeles (a futuristic tour de force mostly, he loved telling them. He lost the time comes, would you write a becomes the U.S. production roost for paign for LG electronics out of LG SHOOT “Top Spot” titled “PlaySta- a battle to cancer, but right up until blurb about me and tell everyone how directors Ifergan and David Preizler. Ad Inc., Seoul, Korea, multiple global tion 9”), a Game Cube glob- the end, he would share his war sto- good I still looked?!” And he did—in The latter signed with Serial Dreamer packages for L’Oreal via McCann al campaign out of Leo Burnett USA, ries. Like the time he had a helicopter his eyes was the same spark of the sto- about five months ago, coming over Erickson, Paris, Vaseline for Bartle Chicago, and such AT&T commer- “drop him off at home” after a long ryteller with the same sense of humor from bicoastal Epoch Films. Bogle Hegarty (BBH), London, and cials as “Trojan Horse” and “Rain” via aerial shoot in Long Island. They I’ve always known. Even though he Ifergan explained that he felt the Johnnie Walker out of BBH, London Continued on page  Shrek’s On A New Mission—To Help Levine, Mooney Team On Kids Battle Obesity Crushing Band Venture

DreamWorks Partners With Ad Council And GSD&M To Create PSAs By Robert Goldrich original compositions and songs. NEW YORK—Joey Levine, president Mooney and Levine bring band By Nicole Rivard Arthur, senior VP of campaigns of New York-based Crushing Music, and brand experience to their new AUSTIN, Tx—In William Steig’s at the Ad Council. “We’ve had has teamed with industry vet Tom collaboration. On the former score, children’s book and on the big more than $270 million do- Mooney—who recently launched Mooney was a drummer in a traveling screen, Shrek sets out to rescue nated against these messages. Mooney Marketing, New York—to band, The Ohio Express, that Levine the beautiful Princess Fiona And then we got a call from form an as yet unnamed Crushing produced and wrote songs for in the from a fire-breathing dragon. DreamWorks saying that they division specializing in offering inde- early 1970s. Levine’s industry roots Accompanying him on his mis- would be interested in allow- pendent rock bands and performers are in record producing soil, largely sion is a wisecracking Donkey. ing us to use some of their to the ad agency community. for garage rock bands. This experi- Now the two have another #,)#+(%2%4/6)%730/4 characters from Shrek to sup- At press time, Crushing—which ence caused advertisers and agencies mission—to help kids combat Donkey, Shrek and friends are urging kids port healthy lifestyles.” continues its core business of origi- to initially gravitate toward him, re- childhood obesity—and that’s to get up and play an hour a day. So she showed them the nal music and sound for spots—had sulting in the formation of Crushing just what they’re doing in a new playing. Shrek himself appears work the Ad Council had been assembled a roster of about 15 inde- in the late 1970s. campaign created by GSD&M, and adds his own words of wis- doing with DHHS and the pendent bands, uncovered primar- “I’m now getting back into the same Austin, and launched by the dom: Get up and play an hour DreamWorks’ team was very ily on the New York club circuit by business but this time from more of a Ad Council, the Department a day. Then Donkey directs excited and open to whatever young scouts/musicians lined up by managerial perspective as it relates to of Health and Human Services kids to www.smallstep.gov, to type of messaging would help Levine. Scouts have also been se- independent bands as talent for agen- (DHHS) and DreamWorks. The find cool play activities. But he push the needle further and cured in the Midwest and in London, cies to tap into,” said Levine. “This is PSAs complement the current reminds them not to stay too faster. When this opportunity with Crushing picking up a couple a trend that’s picking up momentum “Can your food do that?” PSAs, long. The Cannery, a West Coast presented itself Arthur said the of bands from Ohio. Additionally and I think we’re well positioned to be which promote the benefits of online development firm, de- Ad Council realized it wasn’t the shop is currently in discussion a leading player in it.” eating healthy foods. signed the site. doing anything solely focused with some U.K. acts. Part of that positioning comes from The new PSAs, which have “We’ve been working with on physical activity targeted Levine said that plans are to grow the fact that Crushing maintains full been produced in English and the DHHS since 2004 on a larg- at kids and thought the play Crushing’s indie band lineup signifi- service sound studios in which bands Spanish, open with Donkey er initiative focusing on obe- message made perfect sense cantly, reaching out to talent in other can perform and record work that urging kids to put down their sity prevention with messages here since the whole notion of U.S. markets and internationally. best showcases their prowess for ad- video games and shut off to both parents and children physical activity is a tough one Among the bands already in place are vertisers and agencies. their TVs and “Get up and be a about the importance of good to get across to kids. Salt & Samovar and The X’s as well as Branding experience comes from playah.” “Let’s run, have fun,” he nutrition and exercise. The Arthur explained that re- singer/writer Luke Schurman. Levine Crushing’s years in music and sound raps as he takes kids to a jungle media has been just incred- search showed parents feel believes their talent will translate well for commercials, as well as Mooney’s gym where other Shrek charac- ibly generous from a donated overwhelmed by the thought into the ad discipline not only in production house pedigree as an exec- ters like Fiona are dancing and media perspective,” said Heidi Continued on Page  terms of licensing their material for utive producer/marketing maven for spots but moreover for the writing of Continued on page   SHOOT February 23, 2007

News

The Joneses Signs Director Harton Short Takes SANTA MONICA, Calif.—Director “I like spots where the whole idea BENT ON RECYCLING Peter Harton has signed with The can be communicated in just two To a catchy jingle (see this week’s Top 10 Spot Tracks Chart), plastic Joneses for exclusive representation in or three shots. My work is all about grocery bags serenade their way out of dark cupboards to see the the . This marks the first making it look different and inter- light of day. Our protagonist bag, a plastic pied piper of sorts, croons time that the American-born, Danish esting and having fun. for that one bright day when “some human would figure out that filmmaker has been represented in “For me it’s extremely important serving you once and step- North America. that I find the work I do inspiring.” ping aside isn’t all we bags Harton began directing commer- In addition to his commercial are about.” Propelled by stop cials in 2004 after working as an work, Harton has also directed mu- motion animation from Bent assistant director for several years. sic videos for Danish rapper Liam Image Labs, Portland, Ore., Represented in Europe by Chased O’Connor (aka L.O.C.) and the the bags move out of their by Cowboys (Dusseldorf and Paris), Swedish band The Mopeds, among hidden drawers and shelves Le Grand Danois (Paris) and Agent several other artists. to the outside world, making Peter Harton Zoo (Copenhagen), he has helmed Harton, who was born in Eastches- their way to the local store to spots for such brands as Tuborg, cell away as Spain and Brazil have cov- ter, New York, grew up in Germany attain the “higher purpose” #,)#+(%2%4/6)%730/4 phone company Sonofon and candy ered the campaign. and Denmark. He joins a growing of being recycled. Rob Shaw maker Ga-Jol. list of Scandinavian filmmakers who and Randall Wakerlin of Bent directed this :30 spot, titled “Ballad of Among Harton’s most notable A flair for comedy have made The Joneses their U.S. the Bag,” for the Rhode Island Resource Recovery Corp. and agency successes is a viral ad called “Speed Much of Harton’s broadcast work home. The company also represents RDW Group, Providence, R.I. The RDW creative team consisted of Bandits” for the Danish Road Safety has had a similarly deadpan, offbeat Danish director Jonas Arnby and Executive Creative Director Jeff Patch, Creative Director/Copywrit- Council to encourage drivers to slow comic flavor. His recent efforts in- Norwegian directors Hans Petter Mo- er/Art Director Wendy Jivoin and Producer Ann-Marie Raymond. down. It presents a spoof news report clude a spot for Tuborg in which land and Sten. Ray Di Carlo executive produced for Bent, with Mark Axton serving about a group of topless women who two men nearly beat one another to Mel Gragido, executive producer as producer. Bent’s Jon Weigand was offline/online editor. stand along Danish roadways waving death while playing squash. of The Joneses, said he was drawn to speed limit signs. At the end of the commercial, the Harton’s “unique comic perspective KEEP THE FAITH Posted in November on the web- two men enjoy a Tuborg soft drink and willingness to take risks.” Veteran Exec Producers Jeff Armstrong and Ben Dossett have site www.speedbandits.dk, the viral that coincidentally goes by the name The Joneses is represented on the launched Holmes Defender of the Faith, a Malibu-headquartered quickly spread to thousands of other “Squash.” Harton directed the spot East Coast by Maggie Klein, in the production house. Armstrong is best known for his tenures at the sites, including YouTube and has for Danish agency Wibroe, Duckert Midwest by Doug Stieber & Com- helm of now defunct Satellite Films and A Band Apart. Dossett been viewed more than seven million & Partners. pany, in Detroit by Dawn Ratcliffe, in was a partner in Southern California shops Windmill Lane and times in over 200 countries. “For me, simple ideas make the the West by Howell Associates and in Miss Jones. He briefly came aboard A Band Apart and worked Television broadcasts from as far best ads,” says an enthusiastic Harton. Texas by Alyson Griffith. with Armstrong. Holmes Defender of the Faith opens with roster that includes spot directors Marcel Langenegger, Brendan Dono- ARTISANS van and Jennifer Little. The house also handles filmmakers Andy Dick, Tim Burton, David Goyer, Keenen Wayans, Forest Whitaker, Industry Mourns Pioneer Charles Swartz Spike Lee and Robert Luketic for commercials. Additionally the new venture has an alliance with 8 Commercials in Australia and By Carolyn Giardina on crucial creative and technical issues. clients with companies exploring the represents directors Brendan Williams, Josh Frizzell and Paul LOS ANGELES--Charles Swartz, re- Among his accomplishments were potential of broadband wireless. Goldman in the United States and Canada. The domestic sales spected throughout the production building ETC-USC’s Digital Cinema Before bringing his expertise to force consists of independent reps Richard Fink and Robin Fried industry and academia for his role in Lab into the entertainment industry’s consultancy, Swartz was an educa- of R2, New York, handling the East Coast, Mary Ida Bonadio in shepherding innovations that broke premier test bed for new digital cin- tion specialist and program manager the Midwest and Connie Mellors and Ellen Dempsey covering new ground in cinematic content, dis- ema technologies. Swartz produced at UCLA Extension’s Department of the West Coast. tribution and display, passed away on such events as the Digital Cinema Entertainment Studies and Perform- Feb. 10 from pneumonia. He was 67. Summit at NAB. ing Arts. PEOPLE IN THE NEWS Known for his vision, patience and Swartz began his career at Warner Director Ramaa Mosley has joined Trio Films, the Los Angeles energy, Swartz was an important cata- Bros. Television and then served as shop headed by founders/executive producers Erin Tauscher and lyst in the industry’s current transition head of production at Roger Corman’s Taylor Ferguson. Mosley comes over from Uber Content, Los An- to digital cinema. He edited the book New World Pictures, as well as execu- geles, where she helmed spots for ESPN and Pfizer, among others. Understanding Digital Cinema and tive VP of acquisition and production at Her career credits also include commercials for adidas, Powerade brought together key organizations Dimension Pictures. He produced eight and Toshiba....Director Noah Marshall has come aboard the U.S. and thinkers worldwide to help move feature films, six of which he co-wrote. roster of The Sweet Shop, headed by New York-based managing forward feature film and the technolo- Swartz was an active member of director Steven Shore. Marshall extends his reach stateside from gies that make digital cinema possible. SMPTE since ‘85. He served as gov- The Sweet Shop footholds in Europe and the Pacific. His credits “Charles’ impact on entertainment ernor from the Hollywood Region in include Nike’s “Maureen,” which garnered a Bronze Lion at last was both exceptional and profound,” ‘04-‘05. From ‘92 to ‘94, ‘95 to ‘97, and year’s Cannes International Advertising Festival. He joins a U.S. said Elizabeth M. Daley, dean of the again from ‘02-‘03, he was manager of directorial lineup at The Sweet University of Southern California the Hollywood section. He was a mem- Shop that also features Steve (USC) School of Cinematic Arts. “That ber of the Hollywood section education Ayson, Melanie Bridge, Kathi impact stemmed not only from his committee and the Lou Wolf Memorial Prosser, Julian Pugsley and vast experience, but also from a deep Charles Swartz Scholarship Committee. In ‘04, SMPTE Michael Wong....King Cut Edi- passion for the dramatic role enter- Prior to heading ETC-USC, Swartz named Swartz a Fellow and in ’06 he torial, Venice, Calif., has added tainment plays in shaping the lives of was the director of business develop- received the Society Citation. Swartz Editor Megan Bee, formerly of millions of people around the globe.” ment for the entertainment industry was also treasurer of the Hollywood bicoastal Spot Welders, Execu- From 2002 to summer ‘06, Swartz at Anderson Consulting (now Accen- Post Alliance. tive Producer Hannah Yates was CEO of the Entertainment Tech- ture), and then director of integrated Swartz is survived by his wife, writer/ Ramaa Mosley and Associate Producer Ari nology Center at USC (ETC-USC). strategy for media and entertainment director Stephanie Rothman. Contribu- Braverman. Yates had most recently been freelancing as an edi- He reinvigorated and refocused the at the e-business consulting firm Sapi- tions to Save The Redwoods League torial and visual effects producer. Braverman comes from a sales research center, providing the enter- ent. When Sapient closed its media sec- (www.savetheredwoods.org) and Los background, having worked with Stacey Altman at independent tainment and technology communities tor, Swartz founded Charles S. Swartz Angeles Regional Food Bank (www. West Coast rep firm Stacey & Co..... with a venue to reach common ground Consulting to connect entertainment lafightshunger.org) are welcomed.  SHOOT February 23, 2007 Saatchi Revs Up A Pair Of Documentaries For Toyota Continued from page  takes to put together a Cup team from tionally have Toyota spots shown dur- nifer Vogtmann and account director Millenworks race team (which wound nity, generating a buzz among fans. its inception,” related Saatchi’s Braun. ing the commercial breaks. Steven Sluk. up finishing second in the race); the “The subject matter is of interest to “From the outset, Toyota has wanted Jim Abraham, Jim Jorden and other from amateur driver Kevin people,” said Saatchi LA creative di- to show what happens regardless of Road trips Brooke Hopkins exec produced for Necessary and his crew. rector Greg Braun. “There’s a built-in the outcome.” Saatchi producer Katie Lambrecht NASCAR Productions, with Ryan The two teams raced Toyota FJ audience, a potential audience that is Though this isn’t a branding film, has been on the road for much of the McGee in a hybrid writer/editor role. Cruisers in the Baja event last Novem- enormous compared to a typical piece Chasing Sunday does help to weave past year on this documentary, which “Beyond the obvious difference ber with Saatchi bringing in bicoastal of long-form branded content that an Toyota into the NASCAR stock car dates back to Toyota’s press confer- of working in long-form content as @radical.media as the production agency might find itself doing.” fabric with content designed for the ence in January 2006 announcing compared to a 30-second spot, what company on the documentary. Jeff As for the alluded to warts, while sport’s fans. Saatchi partnered with that it was jumping into the Nextel set it apart for me was that we’ve been Zwart of @radical directed Two Roads there is no manufacturer (Toyota) cul- NASCAR Productions, Charlotte, Cup competition. engaged in documentary making,” to Baja, which was originally slated to pability, a team leader—noted driver N.C., to produce the film. Mike Viney The documentary explores varied said Stevens. “We didn’t sell a script run six times on Speed Channel. But Michael Waltrip (a two-time Daytona of NASCAR Productions directed aspects of the endeavor, including to a client or a studio or a CAA. We the documentary has been so well re- 500 winner) and his Michael Waltrip Chasing Sunday. His documentary the formation of Toyota race teams, are documenting events and profiling ceived by audiences that Speed Chan- Racing (MWR)—drew a record fine Dale about the late, legendary driver the associated peaks and valleys that people and in the process the show nel contracted for an additional four and other penalties for using perfor- Dale Earnhardt has drawn critical ac- go with assembling those teams and takes its own organic form.” runs, making for a total of 10 airings. mance-enhancing engine additive claim. drivers, insights into the drivers and “It’s been quite a learning experi- As with Chasing Sunday, no Toy- in a Camry during the first round of The link with NASCAR Produc- the pressures they face, the cars them- ence,” noted Vogtmann. “It’s a pro- ota commercials appear during Two qualifying on Feb. 4. Waltrip said he tions also included access to NAS- selves and the extensive testing that’s cess that requires a lot of trusting Roads to Baja. The Saatchi team on was “sad and embarrassed” as well as CAR’s historical archives so that Saa- entailed (engine trials, wind tunnel on everyone’s part. We’re educating Baja included exec creative director “dedicated to get to the bottom of this tchi could tap into footage capturing, tests, etc.). And going into the final the client and ourselves—and we’re Marco, director of integrated pro- because I will not let the independent for instance, the past on-track exploits qualifying duels on Thursday (2/15), being educated.” duction/multimedia Stevens, cre- act of an individual or individuals of Toyota team drivers. This helped there was no guarantee that the ma- Lambrecht said, “We’ve expe- ative director Steve Chavez, writer tarnish the incredible accomplish- Saatchi to delve deeply into the ex- jority of the Toyota drivers would rienced drama, happy excitement, Napper Tandy, associate creative ment my organization has made to be periences and backgrounds of the even qualify for the race—and if any difficult moments. It’s a show about director/art director Bill Courtney where we are today.” behind-the-wheel talent. that did would have decent positions. real people doing real things. It’s not and producer Amanda Miller. The documentary did not ignore Toyota and Saatchi hold owner- The documentary interviewed the about Toyota product placement. It “Both documentaries have been the Waltrip controversy. “We [Saatchi ship stakes in the documentary, with drivers who made it and those who brings you together. We definitely felt great experiences, reflecting just and Toyota] are committed to docu- an hour of airtime bought on FOX for didn’t. (Waltrip earned a measure very much in the trenches with the how fortunate a position we are menting what actually happens—the the show. Though commercials ran of redemption as he qualified along production company.” in to have Toyota as a client,” said ups and downs, the highs and lows,” during Chasing Sunday, none of them with two other MWR drivers, David Stevens. “We’re taking chances to- said Damian Stevens, director of in- were from Toyota. Reutimann and Dale Jarrett. Overall Off-road inroads gether as a team, being very selec- tegrated production/multimedia for While the Camrys aspiring to race four of the eight Toyota drivers quali- Saatchi made its Toyota docu- tive with what we do in long form. Saatchi LA. at Daytona are integral to the film’s fied for Daytona.) mentary on-air debut in January on We aren’t doing long form just for Chasing Sunday has been a year- storyline, Stevens noted that the cli- The Saatchi team on Chasing Sun- the Speed Channel with Two Roads the sake of doing long form. Toyota plus in the making. “The purpose of ent and agency departed from the day consisted of Braun, Stevens, Lam- to Baja, told from a pair of perspec- is staying relevant in its long-form the documentary is to give the fans product placement saturation norm. brecht, executive creative director tives: one from the professional team projects and allowing us to be hon- a behind-the-scenes look at what it This fueled the decision not to addi- Harvey Marco, senior producer Jen- of off-road legend Rod Millen and his est in our documentaries.” DUCK Studio’s “Dragon” From Fallon Wins Annie Award Continued from page  This imaginative odyssey plays Among those honored as recipi- of professional animators. ASIFA vein, even when dad is out of town. to the musical accompaniment of a ents of Annie’s Windsor McKay was chartered by the United Nations The son’s imagination kicks in as special arrangement of George Ger- Award recognizing lifetime or career Educational, Scientific and Cultural he conjures up images of what his shwin’s classic “Rhapsody in Blue.” contributions to the animation art Organization in ‘60 to encourage the father is doing during a business The arrangement was done by Liz was director Bill Plympton of Acme art of animation and further interna- trip. In a nutshell, dad is on a grand Myers and John Trivers of Trivers/ Filmworks who has been active in tional understanding and goodwill adventure, perched on a giant silver Myers Music, Manhattan Beach, Ca- #,)#+(%2%4/6)%730/4 varied disciplines ranging from spots through the animation medium. Cur- bird that transports him to a remote lif. to long-form fare. rently there are ASIFA chapters in forest. His business suit transforms For the spot, stop-motion anima- United Airlines’ “Dragon” ASIFA is the French acronym for some 30 countries. The Hollywood into a suit of armor and he goes back tion was deployed to bring puppets duction were Tim Johnson and Kar- Association Internationale du Film chapter was founded in ‘72. in time to become a knight, seated to life on screen. This technique is ey Kirkpatrick for Over The Hedge d’Animation, an organization found- —by Robert Goldrich at a roundtable with fellow iron-clad accomplished by breaking up the from DreamWorks Animation. ed 50 years ago in France by a group warriors. figures’ motions into increments A giant dragon attacks. The re- and filming a single frame at a time. sourceful, sword-wielding knights “Dragon” was shot using a total of Editor David Smalheiser Joins Bond break up the roundtable into sections some 1,440 frames. that each serve as a shield against the The Annies are presented by the By Carolyn Giardina group we run on good chemistry and campaigns for IAM.com, MCI, Hall- fire-breathing creature. Ultimately Burbank-headquartered Internation- NEW YORK—Bond, a Noho-based he’s a perfect fit,” said Bond presi- mark and Federated Funds with such the boy’s father slays the dragon and al Animated Film Society (ASIFA- editorial and effects studio, has added dent/creative director and founder directors as Spike Lee, Marcus Nis- is crowned a hero. Hollywood). The competition honors David Smalheiser to its editorial ros- Jeff Beckerman. “He’s versatile and pel and Annibel Jankel. Smalheiser We are then taken back to pres- animation excellence and achieve- ter. Smalheiser just wrapped his most fast on his feet and loves the art of collaborated with Saatchi & Saatchi, ent-day reality as the father returns ment in features, TV programs, com- recent freelance project, a package of transposing images to tell a story, New York, on multiple projects in- home. We see him from an upside- mercials, home entertainment, video commercials for Gordon’s at Bond. whether driven by humor, narrative, cluding Old Spice’s “Men Are Pigs” down perspective—that of his son games and short subjects/special The spots were directed by David or music.” campaign. who is hanging off of a tire swing projects. Cars, produced by , Merhar of bicoastal Sandwick Films. Prior to freelancing, Smalheiser Smalheiser also served as a spot in the front yard. Appropriately was named best animation feature. “David (Smalheiser) had already founded and ran editorial shop, 3 Fin- editor at shops that included bicoastal enough, dad has brought back a gift Receiving this year’s Annie as best become part of the Bond team as a gered Louie, for seven years in New Bug Editorial and the former Invisible for his kid: a toy dragon. directors of an animated feature pro- freelance editor for us. As a creative York. There, he worked on national Dog. February 23, 2007 SHOOT  News

Remembering Walter Tannenbaum HD Essentials

Continued from page 4 and second assistant director Jane not be rocket science, but the inge- By Carolyn Giardina was clear what type of producer he Chase Wells. Winning the DGA nuity, creativity and perfectionism was. He was the agency producer Award comedy series category was it takes to make great ads takes a and I was the production company director Richard Shepard for the certain chromosome, or maybe just producer. For those of you on the Pilot.) a certain strain of passion. I’m sure Chimney Pot Opens In Moscow inside, I need say no more. He loved In the early years of her career, we each have our own “Walter”— The Chimney Pot—a recognized commercial and feature post company to hear production stories. He loved Neri could not escape the enthusi- someone who didn’t just mentor with bases in Stockholm, Oslo, Kiev and Warsaw—has opened a facility to commiserate about production astic, gushing squeals when people us, but inspired us. Someone whose in Moscow with emphasis on commercial post. As part of the launch, the problems that are universal and re- learned that she was Walter Tannen- keen eye could spot those who company is introducing an inventive digital workfl ow centered on Digi- main the same, unabated, all these baum’s daughter. There was not a weren’t cut out for this business tal Vision’s Film Master grading system that underscores the company’s vision about where the business is heading. years later. He took them on, and person who knew him professionally versus those who were intrigued Company CEO Viktor Bjork said that the idea to open in Moscow would try to help.” that did not admire him as a producer enough to pursue it. These people came after a meeting with BBDO Moscow, during which he learned She also shared that he was an ar- and want him as a friend. In the later make for a great story. that the agency produces roughly 300 spots annually. chivist. Over the past weeks his entire years, he would remark, he received Part of the collective lore of our “The whole Sweden market is roughly 200 spots a year, he said. personal and professional history was those same squeals from her contem- industry comes from the stories that Additionally, Bjork reported that Russia produces an estimated 280 uncovered in his home office. “I’ve poraries upon learning that he was are handed down and shared. Re- features per year. “It’s probably the biggest market we ever entered,” only just begun taking in the trea- Neri Tannenbaum’s father. He de- member to share yours and stop a he added. The Chimney Pot employs roughly 70 in total, and talent sures, but among the papers I found, lighted in that. moment in your busy day to listen to moves between offi ces as needed for projects. was a budget for some unnamed Walter was the reason I wanted to others’. You’ll see that you’re part of With the Moscow facility, The Chimney Pot is introducing what it commercial produced (or not) some get into this industry. It was because a unique tribe, a “Band of Brothers,” believes is the future direction for commercial post and expects to later four or five decades ago,” she related. of his stories, his love of the work and if you will. And this month we lost transition its existing facilities to this model. Essentially, Bjork believes “On the top of the list was the direc- the adventures, but mostly the peo- one of our special ones. that telecine and high-end composting will disappear. Instead, he tor line. It read: ‘Director, a top man, ple, his friends. Some of the close ones The author of this piece, Matt Mill- envisions a future where compositing is accomplished on low-cost $200/day.’” such as postproduction executive/en- er, is president and CEO of the Asso- systems such as Adobe After Eff ects or Apple’s Shake. As for telecine and color correction, he expects that the traditional telecine and His daughter, Neri, is also in pro- trepreneur/editor Arthur Williams ciation of Independent Commercial linear color grading workfl ow will give way to new nonlinear digital duction. She is a TV and feature pro- and director George Gage always had Producers (AICP). color grading workfl ows. And the fi nal conform—which is typically duction manager, with an amazing list a mountain of stories. Meredith Brown also contributed accomplished on a high-end compositing system—will become a of credits—including a Directors Guild I remember so many wonder- to this remembrance of Walter Tan- task that is completed in the color grading environment. of America (DGA) Award nomination ful things about Walter, and what I nenbaum. The Moscow facility therefore opened with Digital Vision’s Film this year as unit production manager walked away with thinking after our Master at the heart of its post operations. The Film Master will be the on the primetime NBC series very last conversation is that this is an For the Record company’s primary color grading tool and will be used for conform- “Pilot” episode. (The episode was industry of great people. The people In “Director Henry Lu Revs Up ing and mastering spots and features. directed by Adam Bernstein; Neri we meet every day in this industry Engine For ESPN/NASCAR, Wieden + “As we work on a lot of commercials, the Film Master is the best was part of Bernstein’s team, which set apart those who simply have Kennedy” (2/9), the colorist credit for suited product for this market,” said Henric Larsson, managing also included first assistant director “colleagues,” from those who work this Top Spot was incorrect. The colorist director of The Chimney Pot. Stephen Lee Davis, second assistant together to achieve miraculous feats was Tom Poole of The Mill, New York. “This is mainly due to the color enhancement toolset and video director Betsy Jo Friedman-Palmieri that spawn real friendships. It may integration for versioning and deliverables, which is very good. The Digital Vision technology also provides us with an astounding amount of power in a cost and space effective system.” The hero Film Master system is supported by a Bright Systems stor- Ads Tackle Childhood Obesity age area network (SAN), a Cintel DataMill scanner and JVC projectors. For editing and composting, The Chimney Pot has taken the Apple Continued from page 4 sages was made in heaven.” odeon, Turner Broadcasting approach, investing in Final Cut Pro and Shake. of joining formal gym pro- To execute those messages System and Univision Commu- grams and carving out all of the creatives at GSD&M de- nications. Film Master Direction this time during the day and veloped the song and the sto- “That challenge was imme- Film Master’s manufacturer—image processing specialists Digital kids likewise are busy. Plus a ryboards for the PSAs. They diately removed because the Vision—is also headquartered in Stockholm (with subsidiaries in L.A. lot of schools don’t have physi- tapped director Thom Higgins community at large—advertis- and London). Chimney Pot’s recent purchases brought the post busi- cal education opportunities, of Green Dot Films, Santa Mon- ing, marketing and media—re- ness’ total number of Film Masters to 12. Film Master systems were and the whole notion of for- ica, Calif., because of his expe- ally saw an opportunity to use purchased in ’06 by a variety of clients including The Mill and The malized sports can be over- rience blending live action and the power of communication to Farm in London and iO Film and Fotokem in L.A. whelming and daunting and animation. There were two get across a really good health Noting the increasing need for data processing to accommodate not necessarily available to all shoots—one with cutouts of message that kids can relate growing numbers of delivery formats and requirements, Digital Vi- kids, especially at-risk kids. the DreamWorks’ characters to,” she continued. sion president Simon Cuff reported that the company’s current R&D “We had done a lot of qualita- placed into scenes and one The “Be a Player” message focus is what he calls in-context mastering. “What is lacking today in encoding and mastering is where you tive and quantitative research with just the kids. The footage will also be disseminated by can see the work in context for the output. We are working on in-con- to get a better understanding of was then passed along to the companies in the Ad Council’s text mastering,” he explained. “[Content] behaves diff erent on a small how to frame physical activity. DreamWorks’ animators who Coalition for Healthy Chil- screen. The creative look is diff erent from a cinema version.” Reframing physical activity as worked their magic. dren, including PepsiCo, Kraft To this end, Cuff related that Digital Vision and The Chimney Pot play got people to think about Arthur pointed out the proj- Foods, McDonald’s, SUBWAY are exploring the vision of post suites that offer everything from it differently. It seemed like it ect went smoothly from begin- and Coca Cola. high resolution digital projection to iPods, in order to allow client was doable, fun,” Arthur said. ning to end. “Having had the research approvals “in context” from the grading room. Digital Vision is cur- “It became something that “Usually the challenge is get- done, it took away the chal- rently shipping Film Master version 3.2. was easy to fit into their lives ting the media to support it in lenge of coming up with the It plans to ship version 3.5 around April in time for the NAB Con- and something parents and a big way early on, and we saw right message to put out there vention, at which time Digital Vision expects to preview version 4.0, kids can do together. We just such a positive receptivity with these characters. Some- which is slated to ship during Q4. thought how relevant Shrek to the campaign that we were times you can have a great and his friends are to kids and able to get media companies opportunity but you are not *** how they have such a positive, up front saying, ‘Yes I’ll sup- quite sure if what you have SHOOT’s senior editor, technology and postproduction Carolyn fun connotation in general that port this.’” to say is going to have an im- Giardina can be reached at [email protected] or at (323) the marriage of those two mes- Among them are Nickel- pact,” Arthur said. 960-8035.

8 SHOOT February 23, 2007 REDCAR?ED%INHORN!D?VERTPDF0-

Reactor Roster Grows

Continued from page 4 Young & Rubicam, New York. Among Preizler’s directoral en- deavors are a promo for The Discov- ery Channel series Anthony Bour- dain: No Reservations and a Miller Lite spec spot, “Runaway Fridge,” which was subsequently bought by the client for air. The Epoch-pro- duced spec comedy piece was based on a concept from creatives at Young & Rubicam, Chicago. Preizler first gained recognition in Erick Ifergan SHOOT’s New Directors Showcase onsgate Films. in its inaugural year of 2003. He be- The addition of Ifergan and Pre- came part of Saatchi & Saatchi’s New izler fortify Reactor’s spot directorial Directors Showcase in ‘04. His work roster, which Romersa has rebuilt fol- has garnered assorted awards, includ- lowing the departures of Steve Chase ing a Gold Clio (for Puma’s “Goalie”) to bicoastal Go Film and Warren and recognition at the AICP Show Kushner to bicoastal/international in the student commercial category Partizan. Over the past couple of (Speedo’s “Aquaman”). months, as reported in SHOOT, Reac- tor has also signed the directing duo New chapter Rooster (Craig Champion and Jeff Ifergan said that he comes to Reac- Tanner), noted agency creative direc- tor with a stronger Serial Dreamer. tor turned director Rob Luehrs, as In the past he had Serial Dreamer as well as Stephen Sommers. his calling card while being repped in A feature filmmaker (The Mummy, the U.S. by bicoastal Believe Media. The Mummy Returns, Van Helsing), However, back then, prior to going Sommers came aboard Reactor for independent in the summer of ‘05, spot representation and already has Serial Dreamer didn’t function as a a pair of Office Depot assignments production house unto itself. Now under his belt for The Kaplan Tha- Serial Dreamer has the experience ler Group, New York. He currently of being fully engaged in production has a window of availability for with Michele Bain continuing as the commercials before embarking on shop’s head of production. direction of a feature based on Ed- Serial Dreamer still has represen- win Balmer’s classic When Worlds tation/co-production arrangements Collide for DreamWorks and Para- with Bikini Films in London and mount Pictures. Bandits in Paris. Outside the U.K. and Romersa said he has two other key France, Serial Dreamer produces all spot director signing announcements its international work. in the offing. The Reactor lineup also Romersa takes over executive continues to include directors Chris producer responsibilities in the U.S. Applebaum, Thor Freudenthal, Bar- for Ifergan and Preizler. Furthemore ry Peterson and Jim Manera. Freu- Romersa and Reactor feature devel- denthal is scheduled to direct They opment executive Danny Llewelyn Came From Upstairs, a feature for are producing an undisclosed theatri- 20th Century Fox and Josephson En- cal movie property to which Ifergan tertainment; the film begins shooting is attached as the director. Romersa in May. Producer Barry Josephson of and Llewelyn have movie producing Josephson Entertainment was drawn chops as evidenced by their work on to Freudenthal on the strength of his the critically acclaimed Akeelah and spot reel as well as the director’s short the Bee, which was directed by Doug film Motel, which was screened at the Atchison and released last year by Li- ‘05 Sundance Film Festival. Crushing Bands Together

Continued from page 4 ing commercial production house that directors. Prior to his recent formation enjoyed a 14-year run. of Mooney Marketing, Mooney was Now via Mooney Marketing, he partnered with exec producer Tara will head sales and marketing for Fitzpatrick and director Joe Pytka of Crushing Music and the indie band Venice, Calif.-based PYTKA in The venture, as well as handle East Coast Mothership, a since closed house that representation for director David Cor- facilitated directorial endeavors for ad nell of Form, Los Angeles, and New agency creatives. Before that Mooney York-based visual effects/animation/ was president of Headquarters, a lead- design house Spontaneous. February 23, 2007 SHOOT 9 News

Seeking Deja Vu: New York Is Looking To Fuel Spot Business Commercialmaking Incentives Hope To Mirror Success of N.Y. Feature Film/Television Program Tax Credits

By Robert Goldrich stage and location work.” downstate jobs credit is that it’s im- Kaufman. “The tax credits package Mayor’s Office and the City Council. For Alan Suna, co-owner of Long Suna cites a New York study which portant not to take this business for is unprecedented in that it has been There is precedent for this in that the Island City-headquartered Silvercup has found that for every dollar in tax granted and to make efforts to retain designed solely for commercials. city earlier established a similar com- Studios, a New York stage facility credits, the state as a result has gar- the existing share of work that is cur- We’re hoping they help to stimulate panion measure to the Empire State mainstay, the success of the TV series nered an additional $1.34 in tax rev- rently being produced in New York. commercials in the same way our Film Production Credit covering TV pilot filming season bodes well for enue. “The state is making 34 cents For this provision, $3 million in an- TV/feature incentives did for televi- and features, with both programs spot production in the Big Apple. Just on every dollar,” he said. “That’s an nual funding is being apportioned for sion and feature films. Commercials helping to boost movie and television as the upsurge in film and TV lensing, incredible return that has stimulated eligible commercial production com- represent a prime area in which we’d biz in both the state and municipality. including pilots, has increased dra- the state and city economies—and panies that conduct filming activities like to see growth.” AICP president/CEO Matt Miller af- matically since New York’s feature/ which commercials hope to emulate within the Metropolitan Commuter Morty Dubin, chairman emeritus of firmed that a initiative TV tax credits took hold in 2004-’05, with their new incentives package.” Transportation District. The jobs the New York Production Alliance’s for commercials remains “very much Suna thinks that the new state incen- credit is five percent of the total pro- executive board, said that while fea- alive,” noting that several City Council tives package designed specifically for Three components duction costs that exceed $500,000 ture and TV program production has members and the Mayor’s Office have commercials will spur spot biz signifi- The New York State incentives and would be distributed on a first increased considerably in New York expressed support for such a measure. cantly this year and beyond. initiative for commercials consists of come, first served basis. in recent years, commercials have de- In response to a SHOOT query re- “That’s my hope and I think the three prime components receiving • And an upstate jobs credit clined. “That’s why these incentives garding the status of a city incentives prospects are quite good,” he related, collective funding of $7 million: which recognizes that spot produc- are so important in helping to build program for spots, commissioner noting that TV pilot activity wasn’t • A growth credit provision de- tion regularly occurs outside major positive momentum and growth for Katherine Oliver of the New York much of anything prior to the TV/ signed to encourage companies to metropolitan areas that are consid- the advertising business, which is a City Mayor’s Office of Film, Theatre feature tax credit initiative. Subse- increase the amount of business ered traditional production centers. key contributor to the health of the and Broadcasting, stated, “The com- quently, though, growth has been they bring to the state by providing This incentive component provides New York economy,” said Dubin. mercials sector is an integral part of substantive—to the point where New a refundable tax credit of 20 percent $1 million annually to all eligible com- Released last year, a study commis- New York City’s local entertainment York City is experiencing a TV pro- of qualifying production costs solely mercial production houses that par- sioned by the New York Film, Tele- industry. Now that the commercial duction boon, underscored by the fact on newly generated business. The ticipate in filming activity outside the vision and Commercial Initiative (an program has been passed at the State NYPA committee) and conducted by level, the city is currently examining Cornell University researchers and the program at a local level.” the Fiscal Policy Institute concluded that there has been a steady erosion Complex commitment of commercialmaking in New York. Bullish on New York production The “Big Picture” study cited loca- prospects is the aforementioned Sil- tion shooting day figures based on vercup Studios. The company is plan- film permits issued by the New York ning a $1 billion, 2.7 million-square- City Mayor’s Office of Film, Theatre foot complex—dubbed Silvercup and Broadcasting. West—which will include eight sound- Per those tallies, the number of stages, commercial office space, retail spot location shoot days went down stores, public plazas and 1,000 resi- nearly 40 percent from ‘98 to ‘04. dences. The new development is on Understandably the biggest decline the East River waterfront, four blocks occurred in ‘00 during the six-month west of Silvercup Studio’s main head- Alan Suna Pat Swinney Kaufman Katherine Oliver actors unions’ strike against the ad quarters. This would complement the that there are now 10 new series pilots amount will be based on the differ- Metropolitan Commuter Transporta- industry. But even with some nation- stage and support resources at the Sil- underway in Gotham. ence between the total qualified pro- tion District. This jobs credit would wide recovery since then, the num- vercup Studios and Silvercup East fa- Four pilots are currently in or duction costs of the current year and be five percent of the total produc- bers still show a major drop in spot cilities in Long Island City. (Silvercup about to go into production at Silver- the total amount of production costs tion costs that exceed $200,000 and production business for the Big Apple East, which opened in ‘99, is about a cup. ABC/Sony’s Cashmere Mafia, ex- of the preceding year. The growth would be distributed on a first come, when comparing the movement be- mile southeast of the main lot.) ecutive produced by credit is funded by $3 million of the first served basis. tween a high point (in ‘98) and a re- Silvercup West will create an esti- creator Darren Star, is slated to soon aforementioned $7 million total. The Pat Swinney Kaufman—executive covery point (‘04). mated 3,900 permanent jobs, some begin shooting its pilot on Silvercup’s intricacies of the growth credit—such director of the New York State Gover- The “Big Picture” study cited other 2,200 construction jobs and 2,500 main lot as will CBS/FOX’s Babylon as coming up with the best way to nor’s Office for Motion Picture & TV factors contributing to the spotmaking indirect jobs. Groundbreaking on Sil- Fields (with its pilot being directed verify total qualified production costs Development—said that the tax credit decline in New York, including the vercup West should take place in ‘08, by spotmaker Mike Cuesta, Jr. of of the prior year as compared to the application forms and instructions will use of a wider range of international with construction slated for comple- bicoastal The Artists Company). Ad- next—will be addressed in regulations be available in late winter/early spring. locations, and buyouts of residuals for tion in late 2010/early 2011. ditionally, ABC/Touchstone’s Dirty and reflected in forms and instructions She notes that the film commission non-U.S. actors in international loca- When the New York City Council Sexy Money and CW/Warner Bros. which will soon be released. These worked closely with the Association tions. Additionally, the study noted voted thumbs up last year on the con- TV’s Gossip Girls have already started regulations governing how the incen- of Independent Commercial Produc- that the decrease in commercial film- struction of Silvercup West, Gotham production on Silvercup’s East lot. tives are to be applied were drafted by ers (AICP) and the Association of In- ing in New York took place “in con- Mayor Michael R. Bloomberg issued Feature films have also been on the New York State Department of dependent Creative Editors (AICE) to junction with the loss of advertising a statement that read: “Silvercup Stu- the rise in New York. The Producers Budget, and the Governor’s Office for make sure the application is consistent agency headquarters. New York is dios, one of the pioneers in reviving was the first film to take advantage Motion Picture and Television Devel- and corresponds with industry practic- now the home to one-third of all the the film and television industry in of the New York tax credits and as- opment. es and budget breakdowns. advertising agency headquarters in New York City, keeps on growing sorted other movies have followed • A downstate jobs credit, which Kaufman added that the growth the world as compared with one-half with the exciting addition of Silver- suit, including the recently released addresses the misconception about credit provision can be applied for ini- only 20 years ago.” cup West, which will create jobs for Music and Lyrics. “Before the tax the commercials industry that there is tially at year’s end or in early 2008 by New Yorkers and generate addition- credits, you had films perhaps need- a fixed amount of work that will occur a production company via a compari- City watch al revenues for the city. New York ing to come to New York for a little in a certain location regardless of eco- son of its ‘07 volume of business with Meanwhile now there’s the possi- City’s production industry employs location work and then they’d ‘get out nomic circumstances. This is clearly that done in 2006 in New York. bility that New York City will launch 100,000 New Yorkers and generates of Dodge’ for the bulk of their shoot- not the case in that every spot lensing “The growth credit is the most a companion spot incentive program $5 billion for the city annually, and ing,” recalled Suna. “Now those pro- job is considered up for grabs prior to lucrative provision of the commer- with some $3.5 million in funding—but we are committed to expanding our ductions are staying in New York for being filmed. The rationale for this cial production incentives,” related that would require approval from the share of this vital industry.” 10 SHOOT February 23, 2007 American Society of Cinematographers Honors Lubezki, Daviau

By Carolyn Giardina he had just lensed an Axe commercial In the ASC’s television categories, LOS ANGELES—Numerous highly helmed by the directing team Traktor John Stokes topped the television regarded cinematographers whose of bicoastal/international Partizan, on movie competition for the Nightmares work extends into the advertis- location in Buenos Aires. and Dreamscapes miniseries, and Da- ing business were recognized with In another highlight, Oscar-win- vid Moxness earned the episodic TV nominations and awards last week- ning actress Charlize Theron present- trophy for an episode of Smallville. end at the 21st Annual American ed Daviau with his trophy. Daviau is Filmmaker pre- Society of Cinematographers (ASC) a five-time Academy Award nominee sented Michael Ballhaus the Interna- Outstanding Achievement Awards, for ET: The Extra Terrestrial, Avalon, tional Achievement Award; Ballhaus held at the Hyatt Regency Century Empire of the Sun, The Color Purple is the first German filmmaker to re- Plaza in Los Angeles. and Bugsy. He is also a highly regard- ceive this honor. Notably, Emmanuel Lubezki, ASC, ed commercial DP and very knowl- Director Ron Howard received the AMC, took home the top prize when edgeable of the advertising business. Board of Governors Award; Gerald his work on Children Of Men topped Daviau has compiled more than 1,000 Hirschfeld was recognized with the the feature film category. And, Allen spot credits. Presidents Award and Donald M. Daviau, ASC was recognized with the Accepting the ASC’s Lifetime Morgan was honored with the first ASC Lifetime Achievement Award Achievement Award, Daviau de- ASC Award for Career Achievement during the ceremony, which was at- scribed how he took an interest in cin- in Television Cinematography. tended by an estimated 1,600. Charlize Theron/Allen Daviauematography at a young age. He also Emmanuel Lubezki The ASC John Alonzo Heritage In the feature competition, Lubezki these excellent cinematographers,” cited some career highlights, gave a directed by , marked Award was presented to students bested a field of nominees that includ- said Lubezki, thanking the cast, nod to collaborators and thanked the the cinematographer’s full-length Brian Melton from the North Caro- ed Dick Pope, BSC, for The Illusionist, crew and director Alfonso Cuaron. ASC for “this special, special honor.” theatrical motion picture debut. Da- lina School of the Arts and Lyle Vin- Dean Semler, ASC, ACS, for Apoca- Lubezki invited George Richmond, Daviau has won two ASC Awards viau first collaborated with Spielberg, cent from the NYU Tisch School of lypto, Robert Richardson, ASC, for camera operator on Children of in the feature film category during shooting the director’s short, Amblin, the Arts. The Good Shepard and Vilmos Zsig- Men, to join him on stage during the his career—for Empire of the Sun and in 1968. It was that short that caught And ASC Awards chair Russ Al- mond, ASC, for The Black Dahlia. award presentation. Bugsy. The former also garnered the the attention of Universal, who sobrook paid tribute to past Lifetime “It is a great honor to be here. It’s Lubezki is well known in the com- British Film Academy’s cinematogra- brought Spielberg aboard initially di- Achievement Award winner Sven incredible to be nominated amongst mercial industry. In fact at press time, phy award. ET: The Extra Terrestrial, recting TV movies. Nykvist, who passed away last year.

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February 23, 2007 SHOOT 11 CHAT ROOM

Tom Ohanian The Inventor Who Helped To Revolutionize Editing Looks Ahead To New Innovations

By Carolyn Giardina Signiant as VP of product management. Signiant off ers digital media Tom Ohanian has had a fascinating 26-year career in the distribution management tools designed to help rich media content industry as a fi lmmaker, editor, designer and inventor. creators and producers easily implement a digital media distribution Most notably he was the co-inventor of the Avid Media strategy for their fi le-based workfl ows. The Signiant Digital Media Dis- Composer, the technology that less than two decades tribution Management Suite is designed to simultaneously manage, se- ago revolutionized editing by leading the transition from cure, automate and accelerate digital media workfl ows—allowing users fi lm-based linear editing to computer-based digital non- to easily share, repurpose and move their digital fi les to more places linear editing. in a shorter period of time. Signiant’s technology also allows the easy Ohanian is the recipient of a 1994 Emmy Award for the delivery of digital content to Internet and mobile portals and lets users Avid Media Composer, a 1995 Academy Award for Scientifi c acquire and exploit community-generated content. and Engineering Achievement for the Avid Film Composer He has served as a judge and lecturer at industry events, and is the –which was upgraded in 1999 to the Academy Award of author of three textbooks on nonlinear editing and digital fi lmmak- Merit, an Oscar Statuette and the Academy’s highest scien- ing, as well as a historical novel on the subject. Ohanian holds a BS in tifi c and technical honor—and a 1998 Emmy Award for the broadcasting and fi lm from Boston University and an MS in instruction- Avid Multicamera System. al technology and an honorary doctorate of humanities from Rhode This past year, Ohanian joined Burlington, Mass.-based Island College.

SHOOT: Let’s start with nonlinear other changes that you see occurring didn’t exist [when Avid was found- Avid was a tremendous challenge, Ohanian: I didn’t have a clue. I knew editing. How would you describe the in the industry? ed]. I think that Signiant is at the but it had one specific promise, that that we had a great problem to solve. state of this product category? forefront of creating a new category. was you could see where things were It was tied to how close we were to the Ohanian: As the media and en- If you look at everyone’s empha- going to go. People could see the in- users and the market needs. You have Ohanian: I think the digital nonlin- tertainment world transitions from sis [today] we are now seeing the herent difficulty in continuing to edit to be as close to the user base as pos- ear editing landscape is one that is analog to digital processes, we’re requirement—because of file-based film for commercials. The first Avid sible. You listen to your users. The us- in transition. It’s important to think witnessing profound and irreversible workflow—to be able to put content Media Composer was a commercial ers really helped us to prioritize [prod- about where we were and where we transformations. This digital media on a network and coordinate its editorial system because of the large uct features and developments]. hopefully are going. So where were revolution is disrupting traditional movement to all the constituents cost of storage and the inability to There is a lesson there for all we? In 1989 a $100,000 product was business models, blurring the lines that have to add to it, review it and store lots of footage. manufacturers. While the product seeking to ultimately displace some- between content creators and content collaborate, and then ultimately to That’s why I’m at Signiant. [To- was a great product the key was that thing that cost about 10 times that. consumers and creating workflow, deliver it to a whole new set of dis- day] the need to put content reliably we put in place training programs so Around ‘99 we saw another shift distribution and content ownership tribution venues. on a network is an imperative for that people who didn’t know how to where a $100,000 product basically use the product and were reluctant became $10,000. Today, we’re in that An Academy Award to use the product had the ability to $1,000 range. We are seeing a massive get trained. expansion in people who are inter- winner for his Avid Training is key on any new prod- ested in editing, from software only- accomplishments, Ohanian uct, and in many cases you see that Flash based editing systems on the manufacturers have fabulous, great Internet, which are seeking to allow is now with Signiant, products but they are not able to ad- people to really take the YouTube dress the training issue. experience to another level. which looks to supply new I think that is one of the unspoken That’s a huge area for bringing ed- relevant tools. keys to Avid’s success. iting to the masses. ©A.M.P.A.S Digital nonlinear editing has come SHOOT: Avid editors used to ship out of the professional world. The issues. To face these issues, and take SHOOT: Tell us about Avid in 1989. these businesses to work the way they reels to agencies in 3/4-inch, then 1/2- products are very feature-rich right advantage of new business opportuni- What was the creative genesis that led need to work and grow the way the inch. Do you think there’s going to be now. The next challenge [for manu- ties, content producers need to imple- to the breakthrough? market is demanding that they grow another physical media format, or will facturers on professional tools] that ment a comprehensive digital media in service. it be all file-based? has to be met is the interoperability of distribution management strategy that Ohanian: In 1989, I was employee There’s [also] a tremendous tie-in the systems and how do you publish leverages their existing infrastructure number eight at Avid. We were in a to the other ecosystems that are out Ohanian: I think it’s a great ques- your content to the different formats to efficiently and securely move and machine shop. Out of little dreams do there [including] nonlinear editing. tion. Physical distribution still has a that are necessary. distribute content throughout their great things happen. We were very fo- place, but increasingly you see less Now there’s another challenge: ecosystem and to more media outlets. cused on the problems we were trying SHOOT: Did you have any idea that reliance on it. How do you bring editing, not to Signiant does all this. to solve and adding a lot of value. It what you were developing would rev- Because timely decisions can’t the tens of thousands [of people], I think our company can become really takes knowing the industry and olutionize the industry? Would you wait, I think you will see delivery but to the millions. Now that’s a as significant as Avid has become in what it’s like sitting in these chairs for reflect on lessons learned in terms of mechanisms that are digital packag- massive opportunity. the industry. hours and hours and what the work- manufacturers coming up with and es sent reliably to your workstation Most people don’t realize that the flows really are, then you can design successfully introducing relevant or destination. That really becomes SHOOT: Would you reflect on the category of digital nonlinear editing the best products. product to the marketplace? the methodology. 12 SHOOT February 23, 2007 News

Bud.TV, Fallon’s Connection Planning Signal New Opportunities

Continued from page 1 the online entertainment network ity TV vet Rick Telles)—as well as the comes along spends more time there, new tricks...Some of this new produc- which went live on Feb. 5, the day af- comedy Replaced By A Chimp (one- seeking out more kinds of content. tion isn’t going to be classic [spotmak- ter the Super Bowl. DDB Chicago is a and-a-half to two minutes, all directed Young demographics are also looking ing].” (See separate story on Saatchi’s lead agency on content for bud.tv. by Immesoete). Seed worked directly to cell phones and hand-held devices. pair of documentaries for Toyota.) At press time a number of people with A-B on the series, with Backyard It’s only natural that advertisers are While Connection Planning is now were having difficulty accessing producing four episodes for each. going to these windows.” a well known term, it wasn’t during the bud.TV content and passing it Immesoete is creative director/ And then there’s the window of King’s first tour of duty with Fallon on. This was reportedly due to An- partner at Seed, and a director on the opportunity for bud.TV shows them- when the agency contends that it heuser-Busch (A-B) wanting to keep Backyard roster. A-B naturally gravi- selves to evolve into something much originated the discipline. Some eight underage visitors from being able to tated to Immesoete for bud.TV due more. “Bud.TV has these short bursts years ago, Fallon defined Connection gain entry onto the site. These issues to the client’s comfort level with him, of shows, several episodes here and Planning as breaking traditional cre- not withstanding, reviews of the dating back to his days as a group cre- there, some skit based but there’s real ative and/or media confines to find bud.TV programs have been favor- ative director at DDB Chicago where potential for these shows to capture an better ways to connect with people. able thus far. John King he had a creative hand in assorted audience, generate momentum and This resulted in breakout work that SHOOT got a look-see at several notable campaigns for Budweiser and become big successful series, maybe included the TED airlines launch properties out of DDB Chicago, in- producer of bud.TV. Piedmont was other A-B brands. with runs of a hundred episodes or (a discount United Airlines carrier), cluding The Arrogant Fake British a writer turned producer on Saturday “Anheuser-Busch was into brand- more,” said Immesoete. “They could BMW’s “The Hire” series of shorts Rich Guy, Guided Meditation With Night Live from ‘96 to ‘02, and a writer ed entertainment long before it be- blossom into longer shows, perhaps and EDS’ Super Bowl advertising, The Billy Lama, Donnie Briggs: Life on such feature films as Joe Dirt. came a buzzword,” reflected Imme- even more traditional format [half- including the lauded “Cat Herders” Coach, Future Man, Channel 5-4-6 soete, citing the series of Bud spots hour, 60 minute] programs. spot in 2000. Puppet News Team and Ice Vision & Global reach featuring egotistical athlete Leon, “Through typical means [such as “Once the creative group figures Chef. The quirky, tongue-in-cheek “An online entertainment network the aforementioned “Real Men of pitching broadcast networks], the out what the idea is for a brand or humor of these series is true to the the scope of bud.TV offers a benefit Genius” campaign and A-B’s perenni- chances of this happening were lim- company, our job is to help that brand spirit of the client brand, a Bud per- that even the Super Bowl can’t of- ally top-ranked Super Bowl commer- ited,” noted Immesoete. “But now behave in a way so that it gets credit sonality that’s been honed over the fer—worldwide reach 24/7,” related cials. “Entertainment is in the brand we’re seeing the web and TV com- for what it stands for out in the real years in its advertising. John Immesoete who created and DNA of Anheuser-Busch. Adolphus ing together in a real circular motion. world—that is how we defined Con- “The goal is to create content of en- developed three other bud.TV shows Busch’s main credo was ‘making The web can be a proving ground for nection Planning from the outset,” tertainment value that’s in sync with through Seed, a sister shop to long- friends is our business.’ Their ads re- a show to go to a different medium, related King. “Today that definition is what the brand is about. We are pro- standing Venice, Calif.-headquartered ally haven’t overtly sold beer. They’ve like television, or vice versa. What it more relevant than ever but it’s hard- gramming for a network so the idea is Backyard Productions. sold camaraderie, friendship and en- comes down to is more voices get to er to attain. You have multifaceted to have a program that some people The three bud.TV shows from tertainment. That’s being taken to be heard thanks to ventures in new targets, many of whom are part of the will relate to—while others might en- Seed are two reality series—Truly Fa- another level, another platform.” media and online entertainment like creative process now. They will re- joy another program or programs,” mous and What Girls Want (episodes On the latter score, continued Im- bud.TV. I think people want to see mix, mash up and forward on content. said David Rolfe, production director, ranging from five to six minutes each, mesoete, “The computer is a whole more of this kind of content and enjoy There’s more social media as people content at DDB Chicago. “While all co-directed by Immesoete and real- other window. Each generation that different visions and voices.” interact with their own content and brands can find ways to communicate their own audiences.” and create dialogue through content, Plus, noted King, “Viewer toler- Anheuser-Busch is in a special posi- BIG MEDIA ance has gone down. People don’t tion. The launch of a bud.TV network want to be bothered by advertising. is a natural extension of the entertain- DISINTERMEDIATED! They’ve gone to great lengths to cre- ment and sports cache the brand has ate their own little worlds—they’re on built over the years through its adver- MARKETERS the do-not-call list, they have TiVo, tising spanning the Super Bowl and PERPLEXED! movies are in their mailboxes. To get other sponsorships.” into their bubble, you have to have The Arrogant Fake British Rich AGENCIES some pretty good stuff. The creative Guy and Guided Meditation With LEFT bar has been raised.” The Billy Lama were directed by the BEHIND!! King left Fallon in ‘05 to become team of Don & John—Don Shelford the VP of marketing for Gartner Stu- and John Knecht— of bicoastal HSI dios, a creative design/stationery com- Productions. “I know them [Don pany twice listed on Inc. Magazine’s & John] from their agency creative 500 Fasting Growing Companies in backgrounds,” related Rolfe. Shelford America. He’s enthused to be back at and Knecht were creatives at Goodby CREATIVES Fallon during this pivotal juncture. Silverstein & Partners, San Francisco, King described his Connection and later went to Amsterdam where IN Planning mission this time around as Knecht served as a copywriter at 180 TURMOIL! being “to improve communications and Shelford as a group creative direc- effectiveness by fitting brands into tor at Wieden+Kennedy. Shelford’s people’s lives, not just their media. agency creative pedigree also includes This can entail traditional means as his tenure as an art director at Arnold well as new ways to reach people. The Boston where he worked on such promise of the Connection Planning spots as Volkswagen’s “Bubble Boy” discipline is bigger than ever with the and “Chain Reaction.” Shelford and emergence of social media. When we Knecht came aboard HSI as a directo- started Connection Planning, it was rial duo late last year. a luxury. In today’s media landscape, Meanwhile Donnie Briggs: Life HOLLYWOOD it’s a necessity.” Coach, Future Man, Channel 5-4-6 Puppet News Team and Ice Vision & MEDIAPOST PRESENTS THE ONLINE MEDIA, MARKETING AND ADVERTISING CONFERENCE AND EXPO OMMAHOLLYWOOD:HIGH ANXIETY WITH FEATURED SPEAKERS DAVID CARSON CO-CEO, CO-FOUNDER, HEAVY DDB Chef were all directed by Matt Pied- REX BRIGGS CEO,MARKETING REVOLUTION NICK NYHAN FOUNDER,DYNAMIC LOGIC JORDAN ROHAN MANAGING DIRECTOR,INTERNET ANALYST,RBC CAPITAL MARKETS AND JULIE ROEHM King returns to the agency business mont, who as earlier reported came MARCH 19-20, 2007 WWW.OMMA-EXPO.COM RENAISSANCE HOLLYWOOD HOTEL as many industry eyes are on bud.TV, aboard DDB Chicago as executive February 23, 2007 SHOOT 13 Top Spot of the Week Director Joe Pytka Goes To The Dogs In Fetching Budweiser Spot For DDB By Christine Champagne “Spot” is the brainchild of DDB catching the parade confetti in his other,” Burdiak said. “Originally, As we saw during Super Bowl XLI, a Chicago’s Barry Burdiak and John mouth. He was so proud when the it was just a look—the Dalmation down-and-out dog earns his spots and Hayes, senior VP/group creative di- extras cheered him,” Kate Wilshire gives Tom an astonished look. We a happy new life in Budweiser’s aptly rector/copywriter and VP/creative shared. “His concentration was ex- added a wink from Tom when he titled :60 “Spot.” director/art director, respectively. ceptional for such a young dog with looks back.” Directed by Joe Pytka of PYTKA, “We’re always looking for some no previous film experience.” There was little time to add this Venice, Calif., the heartwarming angle where we can have a spot that wink, by the way. The artisans at commercial finds a sad dog roaming puts the brewery on a pedestal and Taking it up a notch visual effects shop Axyz, Toronto, the streets and getting little respect. still entertains the masses,” Hayes ex- In addition to making his canine actually made the alteration on the A butcher chases him away from his plained, noting that animals—particu- talent shine, Pytka plussed an already Wednesday before the Super Bowl. shop, and a Rottwei- larly dogs—have always great concept, choosing to populate Burdiak and Hayes believe the ler barks ferociously played well during the the parade with vintage cars, giving extra effort paid off. “[The com- at the poor pooch. As Super Bowl. the quintessential American parade mercial] really seemed to strike a if things couldn’t get The dog featured in we see depicted a rather timeless feel, chord with people,” Burdiak said, worse, a car drives by, this particular spot is Burdiak related. The agency creative noting it wasn’t popular just with hits a big puddle and named Tom, and he is also credited Pytka with coming women and older folk but also with splashes water and a rescue from a shelter up with the idea to have the beauty young guys. mud all over the white in Wyoming. Robin queen covered in mud after wrapping “Even a 25-year-old wry smartass dog, leaving him cov- and Kate Wilshire, the her arms around Tom. had a puppy when he was a little kid,” ered with spots. husband-and-wife team “Every time we work with Joe, he Burdiak pointed out. Walking by a mir- that has historically amps it up and brings it to another While the spot was a hit, Tom rored door, the dog trained the Clydesdales level. He definitely brings his own also enjoyed a happy ending. The takes notice of his new Henry Lu for Budweiser spots, perspective to every commercial he Wilshires adopted him, and now he appearance, then spies a parade just up plucked a then 10-months-old Tom does, and that’s one of the reasons is living happily ever after on their the street—the famous Clydesdales are from a cage just for this commercial, ac- we go to him,” Burdiak says, noting, ranch in Wyoming. pulling a big, red truck on top of which cording to Burdiak. “It’s a rollercoaster sometimes work- sits a Dalmation basking in adoration. The pair spent almost a month ing with him because he doesn’t You can see the lightbulb go off in working with the big-pawed mutt, give away a lot of secrets or show top this dog’s mind just before he sprints an American Bulldog/English Setter shooting boards. But we’ve had a re- toward the parade. mix, before Pytka, who also served as ally great relationship with him. It’s Cut to our pal sitting atop the truck, DP on this project, set about shooting a partnership.” Spot of the week passing as a Dalmation and enjoying “Spot” on the Universal Studios back- the perks. When the real Dalmation lot in Hollywood. Choice cut CLIENT shoots him a look of disbelief, the fake “Tom was a star on set at Universal David Baxter of Panic & Bob Ed- Anheuser-Busch/Budweiser Dalmation winks back at him. Later, Studios, and his reaction to the people iting, Toronto, cut the commercial. our hero gets a big hug from a beauty and the bustle of activity surrounding “We’ve worked with him a lot in the AGENCY queen, who winds up covered in mud. the shoot was endearing. He loved past, especially on Bud Light, and DDB Chicago we’ve always wanted to get him in on Paul Tilley, managing director/cre- a Budweiser project,” Burdiak said. ative; Barry Burdiak, SVP, group creative director/copywriter; John “It just so happened that his schedule Hayes, VP/creative director/art di- opened up, and he was able to do this. rector; Patrick Knoll, copywriter; He did an outstanding job.” Kate Hildebrant, senior producer. The :60 spot you saw during the Super Bowl is pretty close to Baxter’s PRODUCTION COMPANY PYTKA, Venice, Calif. first cut, Hayes added. Joe Pytka, director/DP; Tara Fitz- As for music, Dean Martin’s “Ain’t patrick, executive producer. Shot That a Kick in the Head” is featured on the Universal Studios backlot, in the second half of the spot; a sadder, Hollywood. piano version of the tune arranged by Jimmy Haun of Elias Arts, Los Ange- EDITORIAL Panic & Bob Editing, Toronto les, accompanies the first half. David Baxter, editor. “I think we always had that song POST in our script,” Burdiak said. “Sure Notch, Toronto enough, we popped it on in the edit, Bill Ferwerder, colorist Axyz, To- and when we sent the rough cut ronto. James Andrews, Dave Giles, Lukas Drake, Shannon Bell and to the brewery it was on there, and Joel Saunders, Inferno artists; [Anheiser-Busch president] August Robin Mitchell, matte painter; Irene Busch IV said, ‘Let’s get that song.’ ” Payne, producer. While Busch liked the rough cut SOUND DESIGN of the spot, he had a request, ask- Elias Arts, Los Angeles ing DDB Chicago to insert another David Gold, creative director; Jim- my Haun, composer; Ann Haugen, magic moment. executive producer; Dean Hovey, “He challenged us, and we identi- sound designer. #,)#+(%2%4/6)%730/4 fied three potential places to perhaps AUDIO POST manipulate a moment and really dial LIME Studios, Santa Monica, Calif. Seeing spots: A fortuitous splash from a muddy puddle turns a mutt into a quasi-Dalmation, improving his quality of life from that of a downtrodden it up, and the one place we settled on Loren Silber, mixer. hobo to one of an esteemed mascot for a fire engine drawn by the famed Budweiser Clydesdales. Among the perks is a hug from a beauty queen. was where the two dogs look at each 14 SHOOT February 23, 2007 The Best Work You May Never See Grupo Gallegos Adopts Never-Say-Die Attitude By Robert Goldrich true company slogan, “Keeps on going.” English-speaking mainstream market TV viewers may not get the chance to en- “Immortal” was directed by Nicolas Kasakoff of Flip Films, Mexico City, joy this U.S. Hispanic Spanish-language spot for Energizer batteries so SHOOT for agency Grupo Gallegos, Long Beach, Calif. The Grupo Gallegos creative is presenting this worthwhile piece, titled “Immortal,” in our “The Best Work ensemble consisted of creative directors Favio Ucedo and Juan Oubina, associ- You May Never See” gallery to make sure nothing gets lost in translation. ate creative director/copywriter Saul Escobar, art director Curros Chozas and We open on a man about to cross a city street. His Spanish-language voiceover producer Carlos Barciela. (translated into English for the purposes of this article) related, “Since when do I use Energizer batteries?” A moment later he enters the crosswalk and gets Consistent personality run over by a speeding bus. Laid out on the street and looking dead to the Energizer is a longstanding Grupo Gallegos account, for which the ubiqui- world, he amazingly gets up and answers his own question, “Since I discovered tous pink Bunny character was created by TBWA\Chiat\Day, Los Angeles. that I’m immortal.” Weaving the bunny into the Hispanic campaign is important, related creative The next scenario finds our nonstop guy trying to paint the ceiling of a bal- director Oubina in that it has become such a brand icon. “You don’t want a cony several stories above ground. Predictably he plummets—onto a parked car, schizophrenic brand that has one personality in the English-language mar- crushing its roof. Unscathed, he dusts himself off and moves on as his voiceover ket and another in the Hispanic market,” said Oubina. “We try to maintain relates, “Being immortal has a great advantage—you last a long time.” consistency because you have to remember that many Hispanic viewers are Then we see him jogging along a city block. Wearing headphones, he is watching on both English and Spanish-language television. oblivious to the construction workers putting up a giant hand figure—with its “Yet while we try to maintain the same tone and brand personality across thumb extending upwards—on the roof of a corner shop. both cultures, our execution and concepts are designed to appeal to the His- His voiceover continues, “And a great disadvantage—everything else seems panic audience. ‘Immortal’ accomplishes all of this for us and the client.” to last very little.” Sure enough, the huge concrete hand falls on the jogger who Grupo Gallegos gravitated to director Kasakoff for the spot not only be- gets up from beneath the rubble as if nothing has happened, the only casualty cause of his storytelling prowess but also the comfort level of having worked for him personally being his cracked MP3 music player. with him before on another notable, conceptually offbeat Energizer ad, “Japa- Next he attempts to take a snapshot of a speeding off-road race car—the only nese,” which played well in the U.S. Hispanic market. problem is he is in the path of the oncoming vehicle, which runs him over. “That’s why I want to keep memories of everything,” says his voiceover. Again he’s no Client Eveready Energizer Batteries Agency Grupo Gallegos, worse for the wear. “That’s why I use Energizer e-squared lithium in my camera.” Long Beach, Calif. Favio Ucedo, Juan Oubina, creative direc- tors; Saul Escobar, associate creative director/copywriter; Cur- Living for the moment ros Chozas, art director; Carlos Barciela, producer Production “So I can immortalize many more moments,” he continues as we see him Company Flip Films, Mexico City Nicolas Kasakoff, director; Adrian Castagna, executive producer/producer; Gabriel Beri- backpedaling in a museum to capture a giant prehistoric mastodon elephant in stain, DP Editorial Ultra High Frequency (UHF), Santa Monica, the frame of his camera. Alas, he backs into a spear being held by a tribal na- Calif. Chris Castagna, editor; Karen Czukerberg, post producer. tive statue on display. Though impaled, our protagonist is not in peril. He’s fine Post/Visual Effects Riot, Santa Monica Crash, colorist UHF despite being pierced through the center of his chest. Wolfgang Maschin, visual effects artist Gizmo, Buenos Aires Next we see a flashing light flickering upon the faces of what look like examples (animation) Audio Post AZ, Santa Monica Gonzalo Ugarteche, audio post mixer Principal Actor Jaime Tiktin of a taxidermist’s work—stuffed dogs and cats—perched on a table. We then see the credits source of the flashing illumination—our immortal guy being electrocuted by a mal- Keeps Going: Energizer Bunny Immortalized functioning floor lamp. “Because in the end,” contin- ues his voiceover, “nothing lasts as long as I do.” And then we come full circle with our hero again attempting to cross the street. Once more he gets hit squarely by a bus. But he has an addendum to his observation that nothing lasts as long as he does. “Well, almost nothing,” says his voiceover, as we see the familiar pink, drum-beating Eveready En- ergizer Bunny make its way safely across the thor- oughfare. Supered along the bottom of the screen #,)#+(%2%4/6)%730/4 to accompany that sight is the popular, tried-and-

There are Three Steps to Reserve Ad Space Today: East/Midwest/Canada Creating Word of Mouth Buzz. Robert Alvarado 203.227.1699 ext. 15 Advertise in SHOOT’s [email protected] West Coast 1. 2. 3. Carl Gilliard March 9, ‘07 Issue March 23 ‘07 Issue April 13 ‘07 Issue 818.763.2678 [email protected] AD AGENCY PRODUCERS ADVERTISING AGENCY DIRECTORS International CREATIVES EXTRAVAGANZA BRANDED Roberta Griefer * Profi les of Leading Directors ENTERTAINMENT 203.227.1699 ext. 13 EDITING & * Up & Coming Directors Feature POSTPRODUCTION HD PRODUCTION & POST [email protected] ROAD TO NAB II: ROAD TO NAB I: ROAD TO NAB III: Recruitment/Classifi ed Cinematography Color Correction, Workfl ow classifi [email protected] Editing & Compositing Preview: AFCI Locations & NAB Preview Border Watch: Border Watch: Bonus Distribution: Mexico & Costa Rica Argentina & Brazil Locations & OMMA Bonus Distribution: NAB Ad Deadline: March 2 Ad Deadline: March 16 Ad Deadline: April 6

February 23, 2007 SHOOT 15 iWork Deep Focus Creates Artistic Community Online While Promoting Pan’s Labyrinth Website Allows Fans To Turn Their Original Artwork Into A Positive Interactive Experience

By Nicole Rivard In the movie Pan’s Labyrinth, director Guillermo Del Toro tells an imaginative tale set against the backdrop of a fascist regime in 1944 rural Spain. The film centers on Ofelia, a lonely and dreamy child living with her mother and adop- tive father, a military officer tasked with ridding the area of rebels. In her loneli- ness, Ofelia creates a world filled with fantastical creatures and secret destinies. During the development of the film, Del Toro recorded his thoughts, dreams and sketches in a leather bound book, which provided the inspiration for an in- teractive website, www.panslabyrinth.com/mysketchbook, created by bicoastal Deep Focus. Called “Journals of the Imagination,” the site invites fans to create an interac- tive sketchbook featuring up to 10 of their own artistic creations inspired by the motion picture. Del Toro was slated to select five winners this week from all the submissions. While no new submissions will be received once the winners are announced, the site will not be taken down. The winners will receive a Pan’s #,)#+(%2%4/6)%70!'% Labyrinth poster signed by Del Toro. In addition there will be a web link to the winning entries featured in the Pan Labyrinth’s DVD. In the gallery section, visitors can view sketchbooks and post comments about the work. “The film is really rich and beautiful and imaginative. Del Toro has a fabu- lous and creative mind. We wanted to give his fans something engaging and helpful in creating this community and keeping it a circular motion. People interactive and really let them be as creative and as experimental as he is,” said actually came back after they uploaded their work to see what people had said Sabrina Caluori, Deep Focus account director. about their work,” said Caluori. On the movie’s main site developed by Nevlon Shalit and Chad Ossman from Marsh pointed out that if visitors wanted to just comment and look, they New Line Cinema, visitors can see how creative Del Toro is by flipping through didn’t have to go through as many steps as they would if they were creating a pages of his sketchbook and listening to his audio commentary. Deep Focus used sketchbook. “As of now we have more than 4,000 comments. So people were that site as a starting point and then worked with New Line Cinema to create a really having fun participating in this,” said Marsh. promotion that would target his key fan base and appeal to their sensibilities. The strategy for the film’s release relied heavily on word of mouth. “Journals Jim Marsh, account executive, explained that they wanted to push the enve- of the Imagination” was launched in a similar manner. Picturehouse, a joint ven- lope as far as the actual interface in the way that people would be able to create ture between New Line Cinema and HBO, reached out to the art community and their own interactive book rather than just uploading photos to a page. They Guillermo’s fan base first. The film has its own MySpace page where the contest is Client: Picturehouse can customize their sketchbook with music, colors and borders. mentioned, and it also was featured in banner ads. Agency: Deep Fo- The biggest technical challenge for the Deep Focus team was figuring out cus, bicoastal Sabrina Works of art what the right flow of information should be for users in the upload process Caluori, account direc- Visitors can also see everyone else’s sketchbooks in the gallery and comment when building their sketchbooks and making it easy for them to save, log out tor; Jim Marsh, account executive; Daniel Shaw; on each other’s work. They can sort the sketchbooks by most recently added or and come back into the site experience. project manager; Eric highest rated. “Above and beyond what started out as a contest, it turned into “It was figuring out the proper architecture and the proper places in which to do Stockmeyer, art director; this really artistic and imaginative community,” Caluori said. “We were even the data capture,” Caluori said. “When we were building this log-in and interface Jason Garrett, develop- surprised by the amount of time they spent on the site and the kind of com- we had to make sure that when you’re uploading your sketchbook you are having er; Jeramie Hildenbrand, ments they made to one another.” a seamless experience.” animator One visitor wrote, “Wow, I love the technique you used. And the emotion is Another challenge, in a good way, was the project and film excited the Deep

credits wonderful, very moving. I love how none of your people have any features really, I Focus team creatively. “One of the biggest challenges was keeping them reigned in think the features would have taken away from the emotions of the pictures.” creatively so that we could get this up and live in just a few weeks. There was a real “We set it up so people can sign in and come back and I think that was really love of this project. They really wanted to push the limit,” Caluori said.

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16 SHOOT February 23, 2007 MUSIC & SOUND

Maximizing Music

These days it seems like most com- mercials have some kind of licensed Agencies track in them. And while music house compositions are still a strong part of the mix, agency producers believe tap into music’s that the interest in the licensing of songs—in many cases from unknown indie bands—will be a growth area this potential in new year. Along with the growth in the number of tracks being used is the number of blogs that have popped up ways where people are trying to track down the music from the commercials and By Nicole Rivard Tfigure out just who these artists are. “People are obsessing about the music, speculating who did it,” says Jeff Koz, creative director at HUM Music and Sound Design in Santa Monica, Calif., which has a licensing division. He cited the buzz created on the blog fatmixx.com. for the rere- cord of the “Sir Duke” song by Stevie Wonder that HUM did for a Lee jeans spot last year and the music written and performed by artist Christopher Faizi for a Visa Business Card spot last year that HUM also worked on. songs,” said Koz, who at press time was not sure if the CDs were to be sold or Koz strongly believes that the consumer interest is evidence of just how im- given away at retail. portant music initiatives created by ad agencies are and how untapped and un- Gabe McDonough of DDB Chicago, who took on the recently created music leveraged the potential of music still is. producer role at the agency, also sees more original songs on the horizon. Of the many things that can be done with music, he says, one of the simplest “I think the next step for me is getting original music that was commissioned is creating a full-length song in addition to the track for the spot so the client can specifically by the brand and in many cases using some of the players that were make it downloadable on its website. in indie bands in the ‘90s or even now,” he says, adding that his background For instance, the “Sir Duke” music track is downloadable from the Lee includes working at a label in the indie world. website. But he admits that only begins to scratch the surface of the poten- “You will find creating standalone original music, whether its connected to a tial that music holds. spot or not, is the new frontier,” McDonough says. “Music is just such a power- “The point is the there is a lot of untapped potential for a lot of marketers and ful medium. We talk about branded content. I hold music so highly I wouldn’t brands. I think hopefully it will emerge more as a partnership with agencies to want to just refer to it as content but if you classify it as content, it’s such a help them help their clients leverage their advertising,” he says. concentrated expression of human emotion. It’s so easily transferred as a small The creation of original music for advertising projects figures to loom large electronic file at this point. I see music opening new doors that that video and as well. In a job that is currently in the works, HUM is helping one of its clients larger files can fill in.” leverage the power of music with the execution of a CD to be made available at In March of 2005, Leo Burnett USA, Chicago, launched the Artist in Resi- retail that consists of all original songs created for characters used in the adver- dence Program (AIP) to create working relationships between guest artists and tising and marketing of the client. the agency to explore musical solutions and opportunities for marketers. As “It’s bringing the characters to life via music and really extending their reach part of each program, guest artists like Cheap Trick and Good Charlotte work and what they do and utilizing the power of music by creating these humorous with Leo Burnett creatives and producers to discuss the possibility of creating Continued on page 20 February 23, 2007 SHOOT 17 TOP TEN Spot Tracks TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION Garmin’s Musikvergnuegen, Hollywood, Calif. Pixel Farm Music Fallon, Minneapolis Smith and Sons Films, “Maposaurus” Walter Werzowa, Jono Brown, Jeff Kollman, Ken Chastain, mixer Michael Elliot-Knight, London composers; Pat Weaver, producer; music supervisor Ulf Johansson, director 1 Steve Grimmett, performer. Pixel Farm Music, Minneapolis CLICK HERE TO VIEW SPOT > Ken Chastain, sound designer

Wyoming Department Beacon Street Studios, Venice, Calif. Eleven, Santa Monica Sukle Advertising & Design, MJZ, bicoastal/international of Health’s Brian Chapman, sound designer; John Nau, Jeff Fuller, mixer Denver Ray Dillman, director “Slicer” Andrew Feltenstein, composers/sound 2 designers; Andrea Lavezzoli, producer

CLICK HERE TO VIEW SPOT > Nike Brand Jordan’s Mozart’s Requiem: Sequenz-Lacrimosa; Ravenswork, Venice, Calif. Weiden+Kennedy, New York Anonymous Content, “Take Over” Andrew Delfs, Anton Armstrong, St. Olaf Robert Feist, mixer bicoastal and St. Paul Chamber Orchestra, Mark Romanek, director 3 recording artists

CLICK HERE TO VIEW SPOT >

Budweiser’s Elias Arts, bicoastal Lime Studios, Santa Monica DDB Chicago PYTKA, Venice, Calif. “Spot” Dave Gold, creative director; Jimmy Haun, Loren Silber, mixer Joe Pytka, director/DP composer; Ann Haugen, executive producer; 4 Dean Hovey, sound designer Dean Martin’s rendition of “Ain’t That A Kick In CLICK HERE TO VIEW SPOT > The Head”

Bridgestone Tires’ HUM, Santa Monica Wave Recording Studios, The Richards Group, Dallas Believe Media, bicoastal “Art of Performance” Jeff Koz, creative director; Cris Velasco, London Bruno Aveillan, director composer; Debbi Landon, executive Parv Thind, mixer 5 producer.

CLICK HERE TO VIEW SPOT >

Mountain Dew’s Groove Addicts, Los Angeles Sound Lounge, New York BBDO, New York Rattling Stick, London “Chuck” Trevor Rabin, composer; Dain Blair, creative Tom Jucarone, mixer Loren Parkins, Daniel Kleinman, director director/executive producer; Gerhard Joost, executive music producer 6 sound mixer. Nomad Editing Company, Santa Monica CLICK HERE TO VIEW SPOT > Francois Blaignan, sound designer

Intel’s Electronica band New Young Pony Club’s 750 MPH, London McCann Erickson, New York DNA Hollywood “Creativity” “Ice Cream” Sam Ashwell, mixer Mike Boris, music producer Pagan, London Vaughn Arnell, director 7 (now with Blink, London, and Furlined, Santa Monica) CLICK HERE TO VIEW SPOT >

GM Hummer H3’s Star Trek main title, written by Alexander Soundtrack, Boston Modernista!, Boston Crossroads Films, “Boldly Go” Courage and Gene Roddenberry Mike Secher, mixer Los Angeles Nick Lewin, director 8

CLICK HERE TO VIEW SPOT >

Rhode Island StarTrak Studios, Warwick, R.I. Star Trak Studios RDW Group, Providence, R.I. Bent Image Lab, Resource Recovery Corp’s Jack Rametta, composer/arranger/ Jack Rametta, mixer Portland, Ore. “Ballad of the Bag” sound designer Rob Shaw, 9 Randall Walkerlin, directors

CLICK HERE TO VIEW SPOT >

Sylvania’s Bang Music, New York Bang Music Garrand, Airstream Pictures, “Four Bands” Lyle Greenfield, executive producer; Brian Winston Philip, Portland, Maine Gorham, Maine Jones, producer/arranger/supervisor; Sara chief engineer Jeff Weiss, director 1 0 Russo, project coordinator; Locksley (rock band), The Flanks (neo-folk/bluegrass band), CLICK HERE TO VIEW SPOT > Terrence Simien, Alice Tan Ridley, peformers

18 SHOOT February 23, 2007 MUSIC & SOUND

From Cartography To Lobotomy Garmin’s “Maposaurus,” Wyoming Department of Health’s “Slicer” Top SHOOT’s Winter Tracks Chart

By Robert Goldrich Godzilla movies. is tagged with the website address Minneapolis, “Maposaurus” unfolds mett, lead singer of metal band Grim From a hair metal rock anthem ac- Assuming the number two slot in MethKillsWyoming.org. to music composed by Walter Wer- Reaper—behoove us to “Grab your companying a kitschy Power Rang- SHOOT’s quarterly Music Chart was zowa, Jono Brown and Jeff Kollman Garmin, take on the world” as our ers-like scenario to a chilling sound the Wyoming Department of Health’s “Maposaurus” and produced by Pat Weaver—all hero defeats the Maposaurus who design tour de force capturing a deli “Slicer,” which opens on a deli meat Directed by Ulf Johansson of Smith artisans with Musikvergnuegen, Hol- had been wreaking havoc on the meat slicer being deployed on a hu- slicer. But instead of a corned beef or and Sons Films, London, for Fallon lywood. Lyrics—sung by Steve Grim- Continued on page 21 man brain—that’s the curious range pastrami brisket being loaded onto represented in entries number one the machine, we see a human brain and two which head this Winter’s locked into position. SHOOT Top 10 Spot Tracks Chart. As choice cuts of gray matter are Finishing first was Garmin’s “Ma- sliced off before our eyes, a voiceover posaurus,” a Super Bowl spot depict- provides context, noting that using ing man’s struggle with finding his meth causes brain damage. way via maps. In fact, the maps take “Up to eight percent of the lobe on a life of their own, growing before used for memory, gone,” relates the our eyes to form an intimidating Ma- narrator. “Up to 10 percent of the part posaurus monster, dwarfing the poor that controls your moods, emotions, schmo grappling with directions. your sex drive gone—maybe for good. However, help is on the way as anoth- Before you do meth, you better know er man in his car has a Garmin global how much of your brain you’re will- positioning system, which transforms ing to give up—because afterwards, him into a towering superhero who there’s a chance you won’t know takes on and defeats the dreaded much of anything.” Maposaurus in a tongue-in-cheek se- The starkly poignant ad for the quence reminiscent of the old cheesy Wyoming Department of Health

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February 23, 2007 SHOOT 19 MUSIC & SOUND

Agency Music Producers Assess Marketplace, Opportunities

Continued from page 17 ed in a successful partnership with Endless Possibilities original or licensing music for current Covert that includes a sponsorship Eric Korte, music producer at Saa- and future advertising projects. for his House of Blues Tour, featuring tchi and Saatchi, New York, sees pos- Recently the Rice Krispies team special guests Snap, Crackle and Pop. sibilities in cross promotion like that at Leo Burnett felt that a partnership The artist wrote an original com- between artists like Ralph Covert and with a children’s musician would hit position entitled “Box of Fun,” for brands like Kellogg’s based on the all the right cylinders for the brand Rice Krispies that can be download- success of a recent JCPenney spot strategy,” according to Ira Antelis, di- ed from the Ralph’s World portion the agency did for Valentine’s Day. rector of music, Leo Burnett. Working of the Rice Krispies’ website, www. The spot featured music from a band with the AIR program they brought childhoodiscalling.com, launched called Persephone’s Bees. in the Grammy-nominated performer last month. Visitors will also find the “JCPenney had a really good re- Ralph Covert, the creator of Ralph’s Jeff Koz lyrics to the song and a video of the sponse to it. It had a lot of consumers Ira Antelis World, and invited employees and see an internal concert. The relation- making of “Box of Fun.” call in wanting to know what the song is to provide so many more choices their kids, along with our clients, to ship established through AIR result- and who the artist is and find out where because there is so much music out they can track down the song. I think a there. “People are so opinionated. band like Persephone’s Bees would be Music is very subjective, very per- interested in cross promotion, where sonal. So we have to provide a lot of they help promote JCPenney and options. That is the frustrating part, JCPenney would help them promote coming up with 50 possible tracks for their band,” says Korte. “But from my everyone to pick from,” Korte says. point of view those things are still in an In terms of the creation of original exploratory mode. We are just starting music—akin to the aforementioned to get our feet wet. But I do anticipate “Box of Fun” project for Leo Burnett 7EHEARYOU that is the way it’s going.” The Right Stuff Korte says even bigger mainstream advertisers are understanding that the sound design right music can promote good con- original music sumer relations. “They are recogniz- ing that it’s not all about just playing voice casting a song that consumers already know record they like the minute they hear it. It’s mix the excitement of something new. surround “From my point of view, that was harder a year or two ago. Dealing with Gabe McDonough ISDN marketing people at big companies—if —Korte notes Saatchi has had a couple HD they were going to license a song they of offers from artists to create songs really wanted that recognizability fac- specifically for a brand and sees that tor. It’s good because so many songs as an interesting opportunity. out there have already been licensed. “We approached an artist about It’s getting harder and harder to find a song and the artist actually said I something. So it they are open to would prefer not to use that song in WWWSOUNDHOUNDCOM more obscure music, it opens up a an ad but I would love to write some- 45 W 45th St. NYC whole world of possibilities.” thing original. We ultimately didn’t If there is a downside to the trend, take him up on the offer. But I think Andrea Rhodes it is that the agency producer has Continued on next page [email protected]

#,)#+(%2%4/6)%70!'% Rice Krispies features Ralph’s World 20 SHOOT February 23, 2007 MUSIC & SOUND

A Look At Top Two Tracks CLASSIFIEDS Continued from page 19 the devastating impact of meth use. To place classified ad simply email ad copy to: [email protected] Your reply will contain price estimate and PDF proof of ad for your review. Print classifieds run online as FREE bonus. city. Grimmett’s performance is more Sound designer Brian Chapman For further info/rates/deadlines go to www.shootonline.com/go/classified front and center on camera in a com- teamed with his Beacon Street col- plementary music video which users leagues, composers/sound designers EMPLOYMENT can access on a Garmin microsite with John Nau and Andrew Feltenstein, content designed to expand the expe- on the score. “The main sound was Busy Midtown Post Production/Duplication facility seeks tape operator/technician. rience of the Super Bowl commercial a sample we made from an acoustic Must be able to multi-task & have knowledge of all High Definition formats for Down, Up, beyond the broadcast :30. There were piano, which we layered onto itself, & Cross Conversions. Additional knowledge of standard formats including Digital/Beta SP, DVCAM, MDV, DVD & CD-R among others along with PAL-NTSC Standards Conversion tens of thousands of site hits for the giving a dreamy, stark pulse to the (Alchemist / Snell & Wilcox a MUST). Experienced applicants only. video the very first day. film,” says Nau. “The sound was real Email resumes: [email protected] “The requirement from Fallon was austere, which is what we wanted.” a hair metal band sound from the Walter Werzowa Chapman explains, “We took a 1980s, making the spot rock right did Fallon and director Johansson to real sound, manipulated it and made 89 EDITORIAL IS SEEKING A STAFF SALES REP for our Santa Monica office. out of the gate,” relates Weaver who the visual mandate of 1960s retro sci- it other worldly, creating in a sense a This self starter should have a strong knowledge of the advertising, production company and broadcast industries to solicit a roster of high-end editors. notes that Grim Reaper was a point of ence-fiction cinema. The ‘80s metal new instrument.” Responsibilities include tracking and soliciting commercial opportunities within reference from the outset. Ultimately, and tongue-in-cheek sci-fi—with pret- In the real audio vein, Chapman these communities, as well as branding and enhancing company identity. while there were different demos ty much nothing done visually that also deployed the actual sound of the Extensive interaction with advertising agencies, clients, editors, involving in the running with other metal tal- couldn’t have been accomplished in slicing machine, which contributed entertainment and travel will challenge this person’s excellent interpersonal and ent, Grimmett got the gig in tandem the ‘60s genre—made for a quirky, in- a cold metallic, bone-chilling feel to smart sales skills. Salary + commission + benefits with the Musikvergnuegen ensemble. triguing combination. the spot. Please send resumes to: [email protected] “Fallon wanted a high voice that And the mesh of hair metal and “That’s something Brian does,” would soar over everything,” recol- fun lyrics similarly had a playful ef- relates Feltenstein. “When we did lects Weaver, adding that Grimmett fect. Lyrics for the :30 included, “Evil BMW, he went out to take field re- TIRED OF WORKIN FOR THE MAN? TAKE CHARGE OF YOUR CAREER! certainly fit that bill. Maposaurus, prepare to meet your cordings of the sounds of the actual Calling all Flame, CGI, AfterEffects, Flash and any other artistes out there. Do you With lyrics penned by Fallon copy- doom. Our hero has the power. The BMW models to capture realism and have a client following? Would you like to put your career into serious forward motion? Then please do contact us. We’re a shameless progressive, forward- writer Alisa Sengel Wixom and group glove box is your tomb.” then we built upon that musically.” thinking midtown-based post-production boutique. And we’d like to talk to you. creative director Brian Tierney, This was the first time that Beacon Let us help you to grow your business! Reply in confi dence to: Musikvergnuegen had to maintain a Slice of life Street worked with Sukle Advertis- [email protected] delicate balance. The lyrics entertain- Directed by Ray Dillman of bicoast- ing & Design. “We hadn’t heard of ingly conveyed a product message al/international MJZ for Sukle Adver- the agency before,” says Feltenstein and the music had to jibe properly tising & Design, Denver, the Wyo- who credited “Slicer” editor Tessa Red Car NY is looking for a staff Extremely busy editorial company with certain actions., Yet at the same ming Department of Health’s “Slicer” Davis of bicoastal Cosmo Street with assistant editor with 1 year of assisting looking for Runner/Assistant experience. Need to be familiar with Editor. Must be willing to start time there had to be room for the turning the ad shop unto the Beacon assisting editors, prepping for sessions, at the bottom and do all our grunt anarchy of heavy metal music. “All Street ensemble. Beacon Street had postings, and dubbing, plus have a can- do, enthusiastic attitude. work! Send inquiries to: those elements had to be married and collaborated in the past with Davis, Send resume to [email protected]. [email protected] accounted for in the composition,” perhaps most notably on the Slim says Werzowa. “It had to feel like au- Jim fare for Crispin Porter+Bogusky, DGA CONTRACT NOTICE thentic metal while still supporting Miami. Chicago commercial music co. seeks, the commercial. One of our prime “She recommended that getting us energetic, goal oriented sales rep. ARE YOU ELIGIBLE? UPMS Must be self-motivated, organized responsibilities was to bring those involved early on would be helpful UNDER THE NATIONAL DIRECTORS GUILD OF AMERICA COMMERCIALS CONTRACT & have the ability to develop clients. worlds together in the music.” but still it all happened really fast,” YOU MUST BE ON THE NEWLY ESTABLISHED Min. of 3yrs. Exp. - Email resume to: Weaver heard that Fallon got recalls Feltenstein. QUALIFICATIONS LIST TO WORK AS A COMMERCIAL UPM. IF YOU HAVE WORKED [email protected] some 35 demos, with four done by “That’s when we do some our AS A UPM IN RECENT YEARS YOUR Musikvergnuegen. “We were told the best work, though,” chimes in Nau. EMPLOYEMENT RECORDS MAY GIVE YOU THE ABILITY TO QUALIFY FOR THIS LIST ADD YOUR COMPANY top three were ours,” says Weaver. Brian Chapman “When things come together fast, BY APPLYING DURING AN “OPEN PERIOD” TO THE That Musikvergnuegen batch includ- is driven by stark, almost haunting you don’t over-think the job and you WHEN QUALIFICATIONS ARE SIGNIFICANTLY SHOOTonline.com ed a demo featuring Justin Hawkins, sound design from Beacon Street tend to go more with your instinct.” REDUCED. FOR DETAILS SEE WWW.DGA-CQL.ORG DIRECTORY TODAY former lead guitarist and singer with Studios, Venice, Calif. The sounds ac- Feltenstein also credited the con- www.shootonline.com/go/ metal band The Darkness. companying the slicer going through tributions of Dillman, the agency addlisting While Musikvergnuegen held true gray matter heightens the chilling ef- team and audio post mixer Jeff Fuller to the heavy metal prerequisite, so too fect of the spot—and more importantly of Eleven, Santa Monica. MISCELLANEOUS LOCATIONS

A MUST HAVE! Shoot Yosemite Music’s Potential Untapped 2007 ENCORE DIRECTORY and Madera County Film/Video Industry South of LA! From The High Sierra Continued from page 20 was written in many cases for a dif- indie band in Missouri called Starrfa- OVER 180 RESOURCE CATEGORIES Spiral bound with 8 division tabs To The San Joaquin Valley ferent motivational purpose. It wasn’t du. They made the soundtrack to the www.yosemitefi lm.com it is interesting to note those kind of written as an assignment. It was writ- video and then the client fell in love www.OCencoredirectory.com offers are happening. ten out of pure inspiration.” with it,” says John Keaney, JWTwo “Our concern is that the motiva- And an inspired piece of music can executive producer, director of music. POSTPRODUCTION SERVICES tion isn’t going to be the same and make all the difference. Case in point The agency negotiated with the band he’s going to be trying to figure out is Kleenex’s “Let it Out” campaign and they put the song in the commer- what people in advertising want rath- out of JWT New York. The creatives cials and it can be heard at the www. er than just write an inspired piece of wanted to put together a three-min- letitout.com website, where there music. I think part of the reason at ute video for the client and the theme is also a link to the band’s MySpace least creatively people in advertising was “let it out”. “One of the creatives page. “Our client is ecstatic with the are responding so positively to all this searched iTunes for songs with the campaign and how it all worked out,” available licensing is it was music that title “Let it Out” and they found an says Keaney.

February 23, 2007 SHOOT 21 News

Director Mark Lyon has signed with bicoastal production house Subliminal for exclusive spot representation in the U.S. His fi rst job at Subliminal is a campaign for Bose Home Entertainment....Lost Highway Films, a New York shop headed by executive producer Marc Rosenberg, has added directors Mike Patterson and Sasha Greer Levinson....Composer Joel Corelitz, whose fi rst spot music affi liation was Steve Ford Music, Chicago, has launched his own shop, Chicago-based Underscore Music, LLC..... Bicoastal Transistor Studios, active in motion graphics, animation, viral, interactive, web and branding design, has promoted design director James Price to executive creative director of its New York studio where he teams with creative director Saiman Chow. Jared Plummer continues as exec creative director of the company’s interactive division in Venice, Calif...New York-based Bionic has launched a design division to complement its creative editorial, sound and production services. The new design division is headed by exec producer Tommy Shay, with key talent including design director Jun Lee and senior designer Dennis Cheung....

Beverly Hills-based Villains has assembled a sales force consisting of Options on the West Coast, Lynn Mutchler in the Midwest and Samantha Tuttlebee on the East Coast.... Agent Jeff Lewis, partner in Encino, Calif.-headquartered TDN Artists (formerly The Directors Network) has signed DP Jim Hunter who recently wrapped the feature Wild Seven and is now available for commercials. Also coming aboard the TDN roster is DP Mark Eberle who is currently in pre-pro on the IMAX fi lm Portrait of America....Cinematographer David Mox- ness has joined Dattner Dispoto and Associates, Los Angeles, for worldwide representation. He recently won the ASC Award in the TV series category for an episode of Smallville...Production designer Peter Andrus (art director on Adaptation and Being John Malkov- ich) has signed with Innovative Artists, Santa Monica, for exclusive representation in spots, music videos and features....The Sheldon Prosnit Agency, Los Angeles, has taken on exclusive representation of production designer Annie Sperling, who’s collaborated regularly with director David LaChapelle....Orlando Management, Sherman Oaks, Calif., has signed production designer Nigel Mitchell for exclu- sive representation....Cinematographer Andrij Parekh has wrapped principal photography on Emily Hubley’s The Toe Tactic and is again available for spots and music videos through The Skouras Agency, Santa Monica....

>February 27/Las Vegas, NV: Building a Successful Interactive Advertising Business (for agency execs/mgrs). www.laredogroup.com >March 5-9/San Jose, CA: Game Developers Conference. www.gdconf.com >March 8/Los Angeles, CA: HD Expo. www.hdexpo.net >March 12-14/Miami, FL: Innovations in Hispanic Marketing. www.trademeetings.com >March 19-20/Hollywood, CA: OMMA (Online Media, Marketing & Advertising) Conference. www.omma-expo. com >April 12-14/Santa Monica, CA: AFCI Locations Trade Show. www.afci.org

22 SHOOT February 23, 2007 DIRECT EW OR N SS Call For Entries T H O O YOUR NAME O W H HERE

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• 2 • 0 T 0 N 7 5 VE NewNew th ANNUAL E DirectorsDirectors WantedWanted SHOOT’sSHOOT’s 2007 2007 5th 5th Annual Annual NewNew Directors Directors Search Search Is Is On! On! New Directors receive enormous Do You Have career-making exposure! What It Takes To What Work is “Being included in the 2006 show- Eligible to Enter? Be The Next Hot case was a fantastic entrée into the ad business. If you can’t get past building Category 1 New Director? security at the major ad agencies, Traditional broadcast television spots, then the best way to rub shoulders spec work, cinema, branded content SHOOT is conducting a worldwide and exchange ideas with creatives search to discover the best up- Category 2 and agency produc- Alternative media content and-coming directors who, based webisodes, spots created for online ers is SHOOT’s New on their initial work, show promise The fi nal reel will be screened for an audi- use, mobile-phone content, in-game ence of key advertising agency and produc- Directors Showcase.” to soon make major positive con- advertising, advergaming, virals, tion industry decision-makers at SHOOT’s Zack & J.C. alternate reality gaming, ads created tributions to advertising and/or 2007 New Directors Showcase Event at the SHOOT 2006 New Directors for PDAs DGA Theatre in New York City on May 23. @radical.media entertainment in its traditional Category 3 and emerging forms. This global See the directors’ work that was Other search is conducted by SHOOT’s music videos, short fi lms, feature fi lms After the best work is chosen chosen for last years showcase editorial staff with input from ad- SHOOT will compile the 2007 event on SHOOT’s 2006 New Direc- For the 5th Annual Showcase, vertising agency creative directors SHOOT New Directors Showcase tors Web Reel at www. shootonline. Directors can submit work that was & heads of production, as well as completed in the last 16 months. Reel and interview the directors com/go/showcase. The directors (January 2006-April 2007) (excerpts production company heads and for a special feature that will ap- selected for the Showcase come from shorts, and excerpts from long- established directors. The search form fi lm or other entertainment fare pear in SHOOT’s May 11th issue, from diverse backgrounds. Some should be NO MORE than 5 minutes will be conducted between Janu- Must be directing com- pdf version, HTML e.dition, and first established themselves on the in length) ary 26th and April 13th 2007. mercials less than two years & must be on SHOOTonline.com, bringing agency side of the business, while available to direct commercials. worldwide attention to the work others were DPs, feature filmmak- and the directors. In addition, the ers or film students. One bond the Entry Deadline work will be screened for an audi- directors share is great style and April 13, 2007 ence of key advertising agency vision, whether it be reflected in and production industry deci- comedy, visuals or storytelling. Entry Fee sion-makers at SHOOT’s 2007 New $75.00 Directors Showcase Event at the ENTER SHOOT’S NEW DIRECTOR For additional entry information DGA Theatre in New York City on [email protected] SEARCH NOW... It could be a big or by telephone at May 23. Coverage of that event step towards being noticed by 323/960-8035, ext 6681 will appear in SHOOT in June and the companies that can represent Over 20 Showcase Finalists receive the showcase reel will be posted you and the agency creatives and FOR SPONSORSHIP INFO priceless career-building exposure plus email [email protected] a gala evening event in front of a packed on SHOOT’s website. producers that can hire you. or by phone at 203-227-1699, ext.13 house at the DGA Theatre in New York City. Entry Forms at WWW.SHOOTONLINE.COM/GO/SEARCH ©2007 DCA Business Media LLC. All Rights Reserved.