SHOOT Digital PDF Version, April 27, 2007, Volume 48, Number 7
www.shootonline.com
Ogilvy, Mekanism Eric Heimbold Give Birth Feels Young Again To Animated Via Spec Ad For “Babies” For BP Centrum page 13 page 14
THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION April 27, 2007 $6.00
A Spot Dream Come True For @radical.media AFCI Show Dreamgirls director Bill Condon signs Sparks exclusive deal for commercials with HHittingitting NewNew @radical. Filmmaker to also explore branded entertainment and music Discussion video opportunities via his new roost. By Robert Goldrich A Directors Guild of America Award SANTA MONICA—While financial nominee this year for Dreamgirls, incentive programs are emerging Condon has helmed five Academy NNotesotes to help attract commercialmaking Award-nominated performances. MMusicusic ShopsShops DiversifyDiversify to various states, to whom should See page 4 the benefit go—the production com- VViaia Alliances,Alliances, DDivisions,ivisions, pany, the client and/or agency? Hungary Man: Industry That question arose during the Veteran Jonathan Miller NNewew MMediaedia PProjectsrojects course of a panel discussion—“In- Central European production services centives On The Spot”—that kicked company Raleigh Film Budapest is By Millie Takaki and Robert Goldrich off the 22nd annual Association of launched under the aegis of Miller, Film Commissioners International who brings to his new post extensive LOS ANGELES—As the ad biz extends be- (AFCI) Locations Tradeshow ear- experience on the ad agency and pro- yond the traditional broadcast :30, so too lier this month in Santa Monica. duction house sides of the commer- are music houses diversifying their lot into Representatives from cost con- cialmaking business. Miller will work varied new media fare, facilitated by alli- sultancy firm APR raised the sub- closely with seasoned production exec ances and collaborative pursuits. In this ject from the audience, suggesting Peter Seres in the new venture. Music Series issue (see Top 10 Tracks Chart that clients are deserving recipi- See page 4 and accompanying story, as well as Chat ents of tax credits, reimbursements Liz Myers Pays A Visit To Room exploring the musical progression and the like—or that at least there of the United Airlines campaign), SHOOT should be a discussion of what re- SHOOT’s Chat Room offers a sampling of some of the cipient makes the most sense for The composer/producer/arranger, more interesting new wrinkles each project. who’s partnered in Trivers/Myers in the marketplace. Session moderator Matt Miller, Music, reflects on the musical evo- These developments president/CEO of the Association lution of the United Airlines cam- range from scoring for a of Independent Commercial Pro- paign, which features varied forms prominent commercial ducers (AICP), and panelist Bob of George Gershwin’s “Rhapsody in production house’s soon- Fisher, AICP vice chairman and Blue.” A constant has been staying to-be-launched comedy/ head of bicoastal Celsius Films, re- true to Gershwin’s take that “Rhap- entertainment web channel sponded by citing what they regard sody” is first a jazz composition and and a music firm’s ongoing rela- as the reality of most jobs in today’s second a classical piece. tionship with Internet mainstay marketplace. See page 11 JibJab, to ferreting out bands The scenario they put forth is in- and performers for commercial- deed common. A job is legitimately Spotlight On Florida making, the brave new media bid but after all is said and done the Continued on page 1 8 Continued on page 7 Growth in commercial lensing; Hispanic ad market flourishing.
See page 20 Democratization Takes Hold At NAB Convention By Robert Goldrich The former has a track record via parallel between this year’s NAB and did for editing.” LAS VEGAS—While instituting de- Final Cut Pro in making nonlinear that of 1999 when a professional edit- How affordable is Color? It’s bun- mocracy in some corners of the world editing tools affordable and accessible ing workstation cost some $100,000. dled as part of Final Cut Studio 2, has proven elusive, not so at the for a greater number of people. Now Final Cut Pro, he said, changed all meaning that the new color grading National Association of Broadcast- Apple is looking to continue that tra- that, and now Apple plans to do the capability is included in the editorial ers (NAB) convention in Las Vegas. dition with Final Cut Studio 2’s new same in color grading and finishing studio version 2 price of $1,299. For Democratization of technology was feature Color, designed to make color for which a technological solution those upgrading from Final Cut Stu- a prevalent theme during last week’s grading available at a lower price currently runs around $100,000. dio, the cost of Final Cut Studio 2 is confab, as evidenced at the booths point than what has been the norm. That cost, related Schoeben, is $499. And an upgrade from any other of such exhibitors as Apple and Red Rob Schoeben, VP of applications unacceptable, prompting Apple to version is $699. Final Cut Studio 2 is Digital Cinema. product marketing at Apple, drew a “want to do for color grading what we Continued on page 8
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spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION High Deaf April 27, 2007 Volume 48 • Number 7 A dizzying array of most part go blank on Feb. 18, 2009 of the analog to digital transition. To for free to public safety organizations. www.SHOOTonline.com HD-related prod- when federal law currently mandates help remedy this, TV networks, cable Among the recipients would be police EDITORIAL Publisher & Editorial Director ucts, announce- that broadcast stations switch off ana- providers and consumer electronics and fire departments and emergency Roberta Griefer 203.227.1699 ext 13 [email protected] ments and discussion marked the re- log signals and transmit exclusively in companies plan to raise public aware- medical units whose communications cently concluded National Association Editor digital. Thus while most of us will have ness through website content and systems would be markedly improved. Robert Goldrich of Broadcasters (NAB) convention in vastly sharper pictures and access to a millions of dollars worth of airtime for As we’ve learned from 9/11 reports, 323.960.8035 [email protected] Las Vegas, generating much food for wider range of multicasting channels PSAs starting in ‘08. one of the major flaws in the country’s Associate Editor Nicole Rivard thought across all industry sectors, in- provided by networks like NBC, ABC The Department of Commerce also emergency response mechanism is the 203.227.1699 ext. 16 [email protected] cluding ad agencies, production hous- and PBS, a significant number of the intends to give qualifying households lack of viable communications systems Associate Editor es and the post community. Ken Liebeskind 203.227.1699 ext. 17 [email protected] And while you could A significant number of the people who are already somewhat hear plenty at NAB herald- Contributors disenfranchised run the risk of becoming even less connected. Christine Champagne ing the digital revolution, including HDTV, there was but a rela- country’s people who are already some- a $40 coupon toward the purchase of linking these live-saving professionals tive whisper regarding those who may what disenfranchised run the risk of a basic converter box, which would so that they can be more responsive to ADVERTISING East/Midwest/Canada have a hard time staying connected. becoming even less connected. cover most of what such a box should serious situations as they unfold. Robert Alvarado 203.227.1699 ext. 15 [email protected] So while you’ve read a great deal in Households without cable or satellite cost. It remains to be seen, though, if So while it’s easy to get caught up SHOOT about digital TV’s applica- service tend to have lower incomes and, enough coupons will be available to in all the bells and whistles--and cool International Roberta Griefer tions and implications for the industry according to research, ethnic minori- cover those households truly in need. gadgetry--as we are at the doorstep 203.227.1699 ext. 13 [email protected] in recent years, I thought it might be ties—African-Americans and Latinos in At the same time, however, further of an exciting digital era, let’s not West Coast a good time to reflect on those house- Carl Gilliard particular--are more likely than whites delaying the digital transition to help forget those who are in jeopardy of 818.763.2678 [email protected] holds that might be passed by. to receive only over-the-air TV. these needy households would also doing without as well as the impor- Advertising Production One in five U.S. households depends Furthermore a poll found that have far reaching negative repercus- tance of those who come to our aid Gerald Giannone on a rooftop antenna or rabbit ears to more than 60 percent of respondents 203.227.1699 ext. 12 [email protected] sions for everyone in that once TV has in times of emergency. An inclusive, get a TV picture. Without converter who rely on broadcast TV (not cable successfully gone digital, it will open intelligent digital transition is in the Classified 203.227.1699 ext. 12 [email protected] boxes, those TV set screens will for the or a satellite service) aren’t even aware up the availability of analog airwaves best interest of us all.
OFFICES Main Offi ce 21 Charles Street #203 Westport, CT 06880 USA POV 203.227.1699 Fax: 203.227.2787 By Miky Wolf West 650 N. Bronson Avenue, Suite B253 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036 Evolution, Not Revolution At NAB Circulation 203.227.1699 ext 12 [email protected] What did you miss ed) changes make FCS 2 a more com- pressed HD clients alongside multiple Overall, nothing revolutionary Editorial Production Manager/Reprints/Article Rights Michael Morgera this year at NAB? petitive product on the market. But SD clients simultaneously. Avid, Final about this year’s NAB. The upside is 203.227.1699 ext. 11 [email protected] HD is only a buzz let’s be honest—it’s a good improve- Cut and Adobe users on Mac and PC that as our technical demands in pro- © 2007 DCA Business Media LLC. All rights reserved. word if the camera is under $3,000. ment, not a re-invention of the wheel. all sharing storage. That’s a big deal. duction and post continue to grow, No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, 2K is in. SD is out. It’s all about data. The black shirt mafia doing the Color The end of tape? Almost. Sony, Pan- the suppliers are evolving with us electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Apple thinks it’s re-invented the wheel demos make it sound like Steve Jobs asonic and JVC are all pushing smaller and helping streamline our workflow, in editorial. IPTV and mobile media invented secondary color correction. cameras with data workflows. The P2 which in turn keeps the work looking For Subscription Service Inquires and Subscription Orders, Please call: are big. The Red invasion isn’t about He didn’t. Will mixers or colorists start vs. XDcam battle is big. I’m not in love good, the data well organized and the 1.847.763.9620 communists taking over the world, it’s switching over to Final Cut? No. Not with the quality of either format but I product delivered on time. If your mailing label says RENEW, am happy that Avid, Apple and Adobe * * * then go to www.SHOOTonline.com/go/renew about a 4K camera for under $20,000. in the least. These apps are intended and complete our online renewal form today. Systems aren’t changing drastically. to augment editorial allowing editors are interested in making the use of Miky Wolf is an editor at Big Sky SHOOT (ISSN# 1055-9825) printed edition is published bi- They are, however, integrating and to integrate more tools into their pro- these formats more transparent. Edit, New York. weekly except in January, July, August, and December when published monthly) for $125.00 per year by DCA Business producing more efficiently. cess, and that’s a good thing. Media LLC, at 21 Charles Street, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional So, how does any of this affect me Another Jobs marketing coup was mailing offices. POSTMASTER: Send address changes to Flash Back SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. and my process? Let’s look at some of teaming up with Red Digital Cinema USPS (06-234) the specifics. team to offer Final Cut as the editing April 19, 2002 The Association of Independent Commercial For SHOOT custom reprints please contact Michael Apple’s Final Cut Studio 2 is a good system of choice for their highly an- Producers (AICP) and the Commercial Film Producers of Europe Morgera 203.227.1699 ext. 11 or email to: mmorgera@ shootonline.com step forward for the company. They ticipated 4K camera aptly called RED (CFP-E) have opened talks to explore how the two organizations can SHOOT >e.dition published weekly except in January, have entered the hardware game (be- ONE. Red definitely had the hottest team when necessary to address issues that cross country borders.... July, August, and December when twice monthly. yond the Macintosh) with a partner- booth at NAB. I waited an hour in line Bicoastal/international Believe Media and Paris-headquartered iSPOT, the digital newspaper for broadband video Quad Productions have launched Quad US, a satellite operation that advertising, is published weekly on Wednesdays. For ship with AJA and a new IO HD box. to see the first public demo of the cam- further information go online to www.shootonline. The IO can capture and output 10 bit era’s capabilities in a short film helmed will be based on the Believe premises in New York and Los Angeles.... com/go/ispot HD and SD media using Apple’s new by Peter Jackson. Yes, it kicked ass. Yessian Music, the Farmington, Mich.-headquartered music/sound SHOOT is produced in the U.S.A. SHOOT is a member of ProRes 422 compression (demo of HD Adobe’s CS3 suite is a major up- design house, has launched a satellite studio in Malibu. footage I saw looked great). Apple also grade to all their applications with introduced a new and robust app for better cross program integration and April 25, 1997 Director John Mastromonaco has signed with grading called Color (very impres- support for Intel Macs. It’s also great bicoastal Reactor Films, a house headed by Executive Producers sive) and for mixing they delivered to have Premiere Pro back in the ed- Chuck Ryant and T.K. Knowles....In a testament to the growth of Soundtrack Pro that has the ability iting game. Makes for more interest- animation and visual eff ects in all facets of advertising, the National to work in 5.1. They also announced a ing competition. Association of Television Program Executives will hold its fi rst annual spruced up version of Motion as well The Avid folks released Unity Me- Animation and Special Eff ects Expo at the Los Angeles Convention as a new media and asset management dia Network 5.0. It’s the only cross Center May 8-11....DDB Needham and Leo Burnett Co. were the big system aptly named Final Cut Server. platform and cross application stor- winners at the 1997 Chicago Show/ADDY Awards held April 17. These anticipated (and much need- age that can handle multiple uncom- 2 SHOOT April 27, 2007
News
PEOPLE & PROJECTS A Dream Signing For @radical media: Director Bill Condon
By Robert Goldrich (which Condon wrote and directed) sey earned Condon a Directors Guild Lynn Redgrave in Gods and Mon- Golden Globes, including for best SANTA MONICA—Noted feature and as screenwriter on the Academy of Great Britain Award in ’05. sters, Laura Linney in Kinsey, and picture—musical or comedy. filmmaker Bill Condon—who this Award-winning Chicago. Condon’s wide ranging filmogra- Eddie Murphy and Jennifer Hud- year received a Directors Guild of But to confine Condon strictly to phy has a common thread running son in Dreamgirls. Hudson won the Spot attraction America (DGA) Award nomination the music-driven commercialmak- through it—actor performance. He Oscar this year for best supporting Condon said he has wanted to di- for Dreamgirls—has joined bicoastal/ ing genre would be shortsighted has directed five Academy Award- actress, as well as a Screen Actors versify into commercialmaking for international @radical.media for given such credits as director and nominated performances: Ian Guild Award and a Golden Globe. some time. “In recent years there’s exclusive representation in commer- writer of such notable films as Gods McKellen (as James Whale) and Dreamgirls won a total of three Continued on page 9 cials. While spots will be the prime and Monsters and Kinsey. In fact, focus of the arrangement, there’s Gods and Monsters won Condon an also room to explore branded en- Academy Award in 1999 for best Miller To Head Raleigh Film Budapest tertainment opportunities via @ writing of a screenplay based on ma- radical’s Radical Thinking division terial from another medium. By Robert Goldrich hosting a mix of projects ranging from colleagues about the production ser- and music videos through @radi- Both Gods and Monsters and Kin- HOLLYWOOD, Calif.—Jonathan Mill- spots to longform. vices venture. Production executive cal.music. sey are human-based portraits, the er, a commercialmaking veteran with The expansion into Europe was Peter Seres is ensconced in Raleigh experience on both the ad agency and announced by Raleigh Studios’ presi- Film Budapest offices on Hungary’s “There’s been such an production house sides of the indus- dent Michael Moore, who noted that historic MA Film Studio lot, with try fence, has been named managing the entertainment business is global Miller scheduled to join him there in explosion of style and director of Raleigh Film Budapest, and that Budapest is particularly at- mid-May. experimentation in extending Raleigh Studios’ reach tractive as an option given its range Seres has assorted credits, includ- overseas with a European production of locations that can double for varied ing serving as production manager commercials.” —Condon services unit. The Hollywood-head- parts of Europe and elsewhere, a rich on the Steven Spielberg feature Mu- quartered Raleigh, billed as being the filmmaking tradition, a deep talent nich, which entailed extensive lens- Prior to having a formal produc- former of James Whale (the direc- largest independent studio group in pool, a favorable exchange rate and a ing in Budapest. That project took tion house affiliation, Condon re- tor of Showboat, The Invisible Man, the country, currently manages some film-friendly incentives program. advantage of Hungarian government cently directed his first commercial, Frankenstein) during his final years 1.5 million square feet of studio space Raleigh Film Budapest is already incentives which offer qualifying fea- an undisclosed project for TBWA\ while Kinsey explores the life of and is particularly well known for its up and running, bidding on features tures and TV programs a 20 percent Chiat\Day. That spot was musical in noted biologist and sex researcher stage complexes and production sup- and several commercials as SHOOT rebate on every dollar spent in the nature, no surprise given Condon’s Alfred Kinsey whose work has had port resources in Hollywood, Man- went to press. Miller is presently in country. While commercials are not pedigree as reflected in Dreamgirls an indelible impact on society. Kin- hattan Beach and Playa Vista, Calif., Hollywood, getting word out to his Continued on page 9 Publicis & Hal Riney Helps Bring Cat Sandwick Films Reaches Magnet, Band-Aid® Puller To Life Camp David Accord National PSA Campaign Seeks To Make Inventing Part Of Children’s Lives NEW YORK—Bicoastal Sandwick Films hoping to find great American scripts has signed directors Christoffer von that can be conveyed via the Scandina- By Nicole Rivard Reis, Sebastian Reed and Björn Stein vian way of storytelling and humor.” SAN FRANCISCO--What do from Sweden’s Camp David Films. The The signing follows several recent skateboards, Velcro fasteners, trio—which will be marketed under the moves by Sandwick Films to expand computers and electric guitars Camp David name—are being repre- its reach overseas and bring more inter- have in common? They are all sented as a directing collective and as national talent to its agency clients. Last inventions that came from the individual talents, based on each project November the company entered into same place, the minds of people they’re bid on, according to Sandwick an international co-production and rep- just like you, states the homep- Films President Bill Sandwick. The resentation deal with Velocity Films in age of www.inventnow.org, a Camp David directors recently wrapped South Africa to represent its directors in new website designed to get their first Sandwick project, a Nike spot the United States. Velocity was founded kids to explore and discover out of Wieden + Kennedy, Portland, in 1990 by director Keith Rose and exec their own innate inventiveness Ore., featuring New York Yankees star producer Barry Munchick. Sandwick and curiosity. Designed by Visual Alex Rodriguez, reflecting their predi- Films also has a co-production agree- Perspectives Internet, Irvine, Ca- lection for concept-based scripts with ment with London’s Annex Films. lif., the site features interactive subtle humor. Also in ‘06 Sandwick signed the games and allows children to ‘Cat magnet’ lets viewers know anything is possible and encourages inventing. “These are vastly talented guys with Norwegian directing teams Nic & explore their inventive interests In one spot, a group of boys work because that’s not his cat. a true passion for filmmaking,” as- Sune and The Roenbergs for ex- in space, sports, design and are enjoying an afternoon The spot ends with a voiceover sessed Sandwick. “They started mak- clusive TV commercial representa- entertainment. outdoors when their friend Mark telling viewers, “Anything is ing films together when they were 14 tion in the United States. Directors Two ads created pro bono by shows up and they begin ques- possible. Keep thinking. Get years old, so while they’re still young, von Reis, Reed and Stein now join Publicis & Hal Riney, San Fran- tioning him about why he hasn’t started on your own inventions they’ve been practicing their craft for a roster that also includes Simon cisco, direct audiences to the been around. He reveals that or just play some games,” as the well over a decade. These guys collab- Blake, John Curran (director of the site. The entire PSA campaign, he lost his cat, so he’s been busy website address appears across orate closely with each other and with recently released The Painted Veil, launched by The Advertising making a “cat magnet.” The boys the screen. their clients...They bring a unique per- starring Edward Norton), Jeff Gor- Council, the Department of Com- think that sounds cool and ask In the other PSA, a brother spective to American work, imbuing it man, Ruben Fleischer, Steve Kes- merce’s United States Patent and him if it works. Mark replies “sort asks his sister about the noisy with a look and feel that’s more cross- sler, Dave Merhar, N. Thomas Sigel Trademark Offi ce (USPTO) and of” and demonstrates his inven- contraption she’s made that cultural and truly fresh.” and Rawson Thurber. the National Inventors Hall of tion. He points it in the air and a rolls by them. He asks her what Sandwick was introduced to Camp Sandwick Films is represented by Fame Foundation (NIHFF), seeks sandy colored cat comes out of it is, to which she replies, “Some- David’s executive producer Peter Kydd Tom Mooney of Mooney Market- to make inventing and develop- nowhere and sticks to the mag- thing I kinda made.” “What’s it and head of sales Bella Andersson in ing on the East Coast, Nikki Weiss of ing new ideas part of American net. The boys are impressed, but do,” he questions. “What do I Cannes last year, and they hit it off. “Our Nikki Weiss & Co. in the Midwest and children’s lives. Mark tells them it needs a little Continued on Page 9 expectations here [in the U.S. ad market] Stacey Altman of Stacey & Co. on the are simple,” related Andersson. “We’re West Coast. 4 SHOOT April 27, 2007 Editors Justin Amore Shira Ankori Tim Kloehn Craig Lewandowski Grant MacDowell Steve Mach Jan Maitland Randy Palmer Katherine Pryor Deb Schimmel Jim Staskauskas Glorily Velez Kate Wrobel News
Industry Mourns Bill MacCallum Short Takes
By Robert Goldrich “set the tone for the Association of A SUNNY FINAL RESTING PLACE SANTA MONICA—During the 22nd Film Commissioners. He brought us A bikini-clad teenage girl climbs into a tanning bed, presumably annual Association of Film Commis- together and had the vision that led to give her skin a healthy glow. But graphics say any glow will be sioners International (AFCI) Loca- to the organization’s importance and otherwise as a message reads, “UV rays can cause melanoma.” tions Tradeshow held April 12-14 in continued growth.” As she basks in the artifi cial sunshine, a second message informs Santa Monica, film commission veter- While MacCallum was dedicated us that it doesn’t matter ans remembered Bill MacCallum, the to building the filming business and where the UV rays come director of the Arizona Film Com- infrastructure in Arizona, he saw the from, meaning that a state- mission for some 20-plus years, who bigger picture in terms of how every- of-the-art tanning machine passed away last month. He was 73. one benefitted—including Arizona—of can be just as deadly as It was fitting that recollections of having a healthy overall film com- the sun. Before our eyes MacCallum, who retired in 1995, sur- mission community. The AFC was the closed tanning bed in faced during the course of the AFCI the means to that end and when it which she lies morphs into Locations Tradeshow in that the or- Bill MacCallum evolved into the AFCI that commu- a coffi n, a sobering sight ganization and the event itself argu- as a conduit enabling film commis- nity grew on a global level as reflect- accompanied by a sobering ably owe their very existence to his sions to liaison with producers, loca- ed in the mix of domestic and inter- graphic that reads, “Every efforts. MacCallum was instrumental tion scouts and other location deci- national exhibitors and attendees at hour someone dies from melanoma. An end tag informs us of in bringing film commissioners to- sion-makers spanning features, TV the recent Locations Tradeshow. the sponsor’s identity, the Colette Coyne Melanoma Awareness gether to form the Association of and commercials. Again MacCallum AFCI CEO Bill Lindstrom said Campaign (CCMAC) and carries that organization’s website ad- Film Commissioners (AFC) in 1975. played a key role in bringing Loca- that MacCallum’s philosophy was dress (ccmac.org). The PSA was directed by Brian Litman who The AFC became the AFCI in ‘86. tions to fruition. simply, “Let’s learn from one anoth- worked with creative Mark Rogan of Honey Advertising, New He also was a driving force behind MacCallum was president of the er. Let’s get together and talk. It’s York, to come up with the concept. The DP was Chris Waters. Ray the trade association’s annual edu- AFC from ‘81-’83. He served on the what brought about the AFCI and Foley was the producer. Editor David Gioiella of Northern Lights, cational/informational/networking AFC and then the AFCI board for the Cineposium. New York, used jump cuts and frame removals to add impact, Cineposium confab in which film more than 20 years. “He was a huge “You now have all these competi- making the PSA visually unsettling. Arthur Tremeau executive commissioners from around the mentor to film commissioners from tors—film commissioners vying for produced for Northern Lights, with Christopher Harrison serv- world compare notes and help to im- all over the world,” said Joe O’Kane, business—coming together,” contin- ing as Smoke artist. prove their performance and nurture who succeeded MacCallum as AFC ued Lindstrom, “in a cooperative, new film commissions. president in ‘84. O’Kane, who at the non-competitive spirit to do good for FROM THE HEART Once Cineposium became firmly time headed the San Jose, Calif., film the community of film commissions Creatives for Charity (C4C), a non-profi t group of advertising cre- established, the Locations Trade- commission and is now an industry and for the industry at large. That is atives, will present “Art From The Heart,” a fundraising event to show was launched in the mid-’80s consultant, noted that MacCallum Bill’s legacy. benefi t The Heart Foundation, Thursday, May 3, 6-9 p.m. at Crush Editorial headquarters in Santa Monica. Creators, producers of ARTISANS the event are Crush editor Lisa Cheek, exec producer Cindy Carey and indie sales rep Ellen Knable. Selected advertising creatives Plum Signs Director James Wahlberg (including Vonnie Cameron, Seana Corcoran, Susan Fairbairn, Darren Johnson, Vinny Picardi, Steven Rood, Vener Soler, Mark By Robert Goldrich commercials for such clients as AT&T, The project led to a Celluloid pilot, Tripp, Jennifer Young and Heather Watts) will display their origi- SANTA MONICA—Plum Productions, Budweiser, Bud Light, Dish Network, which became the Comedy Central nal artwork—fi ne art photography, along with works on canvas the Santa Monica-based house under Disney, EA Games, the Fox Network, series South Park. Wahlberg was a pro- and paper—for sale with half the proceeds donated to The Heart the aegis of president Chuck Sloan, Mazda, MCI, Microsoft, McDonald’s, ducer on that pilot. Foundation. For more info, contact (310) 392-4226. For info on has signed director James Wahlberg, Miller Lite, Nintendo, Nissan, Sam- After the sale of Celluloid in 2002, The Heart Foundation, which is dedicated to preventing, curing formerly of No Smoke, a banner affili- sonite and Travelocity. Wahlberg continued to direct via its and eradicating heart disease, log onto www.theheartfounda- ated with Creative Film Management Wahlberg initially made his industry live-action sister shop Visitor. Wahl- tion.net. International, New York. mark as a founder of Celluloid Studios, berg headed the since closed Visitor At press time, Wahlberg was about where he helmed a mix of live action PEOPLE IN THE NEWS to embark on his last commitments at and combination live-action/visual ef- Venice, Calif.-based commercial production house Notorious 24:7 No Smoke: spots for Kellogg’s Yogos fects/animation commercials. After has added director Jake Davis, an NYU Tisch School of Arts gradu- fruit/yogurt snack out of Leo Burnett Visitor, he came aboard Fabrication ate with a foundation in grassroots content production, music USA, Chicago, and Mattel via Young & Films, Hollywood, in ‘04, his roost prior promos and culturally relevant industrials. Notorious 24:7 is look- Rubicam, Irvine, Calif. to joining No Smoke. ing to connect Davis with agencies looking to produce branded During his year at No Smoke, Wahl- While he had a self-described “great content. Davis’ first experience with advertising came while still at berg helmed a variety of work, includ- run” at No Smoke and a close working NYU when he was recruited by Wieden+Kennedy to direct a short ing prior commercials for Mattel and rapport with its exec producer Andrew film for Nike. The success of that collaboration paved the way Yogos, the latter shot in Cape Town, Swee, Wahlberg noted that he was the for several more innovative South Africa, and entailing 30 different only Los Angeles-based director at that projects covering Nike Battle- people giving the same performance, New York-headquartered company. grounds, Run NYC and sneaker meshed together via a combo of live “I wanted to feel more connected and culture. Upon graduation from action and visual effects. Among Wahl- then the chance to join Plum surfaced. NYU, Davis signed on to docu- berg’s other endeavors at No Smoke James Wahlberg All my career I’ve been with smaller ment the Anger Management were a Nestle’s campaign for Dailey & an animation house which was eventu- sized shops. Plum is the biggest shop Tour featuring Eminem, Ludac- Associates, West Hollywood, and Kel- ally acquired by Portland, Ore.-based I’ve been with—in size and reputa- ris and the X-ecutioners. The logg’s Mini-swirls cereal out of Burnett. Will Vinton Studios, now LAIKA/ tion—but it still isn’t one of those huge DVD ”Built To Scratch” is the Wahlberg brings diverse filmmak- house. Wahlberg was also a founding houses with a roster of 30 directors. To Jake Davis result of that production. Davis ing experience to Plum. He first estab- partner in Fusion Idea Lab, a Chicago work with Chuck Sloan and executive later went to Music Choice as its lished himself as an animation director, ad agency best known for its work on producers Beth Pearson and Shelby in-house director and editor of exclusive music videos, commer- then diversified successfully into live behalf of Anheuser-Busch. Sexton was too good an opportunity to cials and original shows, working with such artists as My Chemical action, gaining a reputation in comedy At Celluloid, he produced the buzz- pass up. Plum very much has a family Romance and Kanye West...... Editor Kelly McClean has joined Bug and combo work featuring strong actor generating video Xmas card, Santa feel. And I get to rub elbows with direc- Editorial, New York. She’s been cutting for a dozen years and her performances and visual effects. His vs. Jesus, directed by a pair of then un- tor Eric Saarinen, who’s a legend in this work includes spots, music videos and indie features..... directing credits over the years include knowns, Trey Parker and Matt Stone. business, and the other talent here.” 6 SHOOT April 27, 2007 Incentives Make Mark At AFCI Show
Continued from page 1 fruition. HSI has shot a number of client has a budget that’s consider- commercials there over the past few ably less. A producer might take on years and “it’s been a very success- the job even though it pinches an ful experience for us,” said Lava. already squeezed margin. That’s As chronicled in SHOOT, New because the production company York State has a new ambitious executive factored in the tax credit incentives package in place that or incentive that could be realized specifically targets commercials. on the back end. Application forms are being post- It wouldn’t be fair, said Miller ed this week, said Pat Swinney and Fisher, for the client to get Kaufman, executive director of the budget concessions up front from New York Governor’s Office for a production house and then take Motion Picture & TV Development, the financial incentive that makes who added that her office worked the producer’s commitment to the closely with the AICP to formulate job possible. Pat Swinney-Kaufman the incentives legislation “You can’t have it both ways,” a state attracts spot filming. Panel- The New York State initia- said Fisher. “We’re taking the risk ist Susan Lava, CFO of HSI Produc- tive—funded to the annual tune of because our margins are so thin—par- tions, noted that the production $7 million—offers refundable tax ticularly as more clients cut budgets company has increased its location credits of five percent for qualified yet still demand and expect similar lensing “dramatically” the past expenditures upstate (on produc- production value. Meanwhile costs year in Illinois due to the incentives tion costs in excess of $200,000 have escalated in labor, equipment package in that state. during the course of a year) and and general overhead.” She added that HSI has been ac- downstate (on expenditures that tive in trying to encourage states exceed $500,000), as well as a Difference maker to come up with incentives.” For growth credit provision in which Incentives can indeed prove to example, HSI worked closely with the refundable tax credit is 20 per- be the difference in whether or not Louisiana to bring tax breaks to Continued on page 26
April 27, 2007 SHOOT 7 News
Democracy Reigns At NAB Confab HD Essentials
Continued from page 1 empowered viewers to become ac- what many regard as the user-gener- slated to be available next month. tive participants in content such as ated mecca known as YouTube. He Higher Def Schoeben said that the growth of Joel Hyatt, CEO of Current TV, who said that Google is working on “an Final Cut Pro editors has gone from showcased the work of “citizen jour- online video advertising solution to As the United States gets closer to the transition from analog to 250,000 two years ago to 500,000 nalists,” a poignant example being monetize videos on YouTube.” Key digital television—including HDTV—a look at international devel- last year and now some 800,000 a man in New Orleans who took his to that business model is tapping opments during the recently concluded National Association of paid Final Cut users worldwide. He boat out on the streets to rescue those into the fan, which he noted is short Broadcasters (NAB) convention in Las Vegas reflects an even higher hopes to see the same increase in us- stranded in the immediate aftermath for fanatic. “Fans find you and are (def) calling. ers of Color. of Hurricane Katrina. This compel- the passion people,” said Schmidt, Consider the NAB broadcast engineering conference keynote Yet as in the case of editors, de- ling footage from within the Gulf noting a video can link them to ser- address delivered by Hirokazu Nishiyama, executive director of mocratization via Final Cut Pro didn’t Coast appeared on Current TV while vices and merchandise that they are Japanese broadcaster NHK. Nishiyama focused on what he coined diminish working prospects for the major news organizations were grap- passionate about. as the transition from “Tele-vision”—being able to see a distant already established talented cut- pling to get professional news crews Schmidt advised those in atten- location—to Tele-Sense in which a viewer feels like he or she is ters in the marketplace. An informal into the area. Hyatt said that Current dance to not bet against the Internet. virtually at that locale. SHOOT survey at NAB about Color TV’s goal, with its short-form content, “People are going to use the Internet The means toward that sophisticated end, according to the NHK had respondents generally observe is to become the TV home page of the to change their lives,” he said, con- exec, is Ultra-HDTV video offering a resolution of 7680 x 4320, which is some 16 times clearer and better defined than high-def that in addition to possibly making Internet generation. Hyatt addition- tending that those who use litigation television. NHK is in the process of developing specs for Ultra- color grading tools more accessible to ally screened an entertaining user- as a tool to fight change are among HDTV equipment such as cameras and displays, which will require new artisans, the technology may also generated commercial for the Toyota those “betting against the Internet.” 32 million pixels. Also on the drawing board are high-speed HDTV teach users to appreciate the high Yaris that played on Current TV. If you’re going to place any bets, he cameras that will operate up to one million frames per second. level of artistic prowess and expertise Hewlett-Packard’s Robison also in- continued, try wagering on and learn- it takes to be a professional colorist in troduced colleague Rahul Sood, CTO ing from user empowerment. Gearing Up In Europe the ad industry. of H-P’s worldwide gaming business Meanwhile others are gearing up in more conventional fashion unit. Sood came aboard H-P after it ac- 3D yet their investments also signal a strong commitment to HD. A Red One quired his company Voodoo PC. Sood Like the gaming demo showcased case in point is ARRI Film & TV Services, the postproduction services Continuing the democratization told the NAB gathering that gaming by Sood, there were other examples division of ARRI Group, which at NAB purchased three Nucoda Film movement was the first public unveil- is in the process of shedding its couch of media in the offing with implica- Master systems with DVO image processing software from manu- ing of Red One, a 4K digital cinema- potato stereotype as he screened a tions for the ad community. For ex- facturer Digital Vision. ARRI Group selected the Film Master systems to extend its services portfolio to include HD and 2K mastering and tography camera with a base price of demo in which gamers with portable ample, during the Sony press event, image enhancement for its film and television clients in Germany $17,500. There was a long line at the video consoles are patrolling the attendees were asked to don 3D glass- and Switzerland. Red booth not only to catch a glimpse streets to find clues and goals in an es and view footage from the NBA Digital Vision’s Nucoda Film Master is a resolution-independent, of the prototype but also a short film, elaborate interactive gaming pursuit, All Star Game recently held in Ve- end-to-end grading and finishing system for feature films, com- Crossing the Line, directed by Peter liaisoning not only with other gamers gas. Entertainment company PACE, mercials, long-form television and restoration projects. Digital Jackson and shot with Red One by but people who are part of the game which is pioneering a resurgence in Vision Optics (DVO) is a collection of resolution-independent image Richard Bluck (second unit DP on along the way. 3D content, deployed stereoscopic processing tools used to manage film grain and video noise, auto- Jackson’s King Kong and The Lord of Sood added that video games pairs of Sony HDC-F950 cameras to matically remove dust and dirt and improve picture quality. ARRI the Rings trilogy). have extended their reach beyond capture the All-Star Game action, in- will install the new systems on SANs in its Munich, Berlin and Bern The short gained favorable reviews, the oft-cited 18 to 34-year-old male cluding pre-game day events such as facilities in the coming weeks to enable concurrent postproduction helping the camera to gain critical mo- demographic. Players of all ages, as the slam dunk contest. The coverage tasks and to increase efficiency. mentum at the show and dispelling well as women, are on the rise, mak- was shown live on giant screens at Henning Radlein, head of ARRI Film & TV Services, said, “When we skepticism over whether the technol- ing gaming—including new iterations the Mandalay Bay Hotel for an invita- decided to make the transition to multi-format mastering, we knew ogy would become a reality. like the active-in-the-streets demo—a tion-only audience. we wanted a non-linear software solution that would handle both HD and film. While there had been much pro- medium with attractive sponsorship An NBA Entertainment executive “The Film Master is a comprehensive, very high-quality finishing mulgating of the Red mantra to de- prospects for the advertising/mar- noted that there have been prelimi- system that gives us all of the capabilities we need for conform- mocratize digital filmmaking with keting community. nary discussions regarding 3D cover- ing and grading, as well as noise and grain reduction. We are also an affordable camera over the past Also on the democratization front, age of games being shown in theaters impressed by Digital Vision’s engagement on the development side. year, assorted industry observers felt perhaps the most anticipated NAB for local teams whose arenas are gen- They’re very interested in pushing the envelope and working with that tangible proof that this goal was speaker was Eric Schmidt, chairman erally sold out. That 3D experience us to understand what we need.” reachable had been lacking. But the of the executive committee and CEO could carry possibilities for sponsors Digital Vision president and COO Simon Cuff, said, “Given ARRI’s screenings and prototype at NAB of Google, the parent company of looking to reach NBA fans. well-known attention to detail and insistence on quality, the fact generated considerable positive buzz. that they’ve selected Film Master for multi-format mastering is a Additional orders for Red One were real testimony to the system. being accepted at NAB. Going into “Having paint, grain and aperture correction integrated within the convention, Red said it already Kodak Promotes Four the grading toolset is what makes the difference to the creatives. had around 1,500 reservations for the We are extremely pleased to work with them.” camera, with those customers each NEW YORK—Kodak has newly ap- VP for Kodak’s Entertainment Imag- Digital Vision provides innovative image restoration, enhance- ment, color correction and data conforming systems that major laying down a deposit of $1,000. pointed Kathy Mazza, Norlynne Coar, ing Division in the U.S. movie studios, television networks and post facilities use to pro- Melanie Jones and Sarabeth Litt to Mazza was responsible for managing duce and enhance feature films, TV programs and commercials. The Sessions leadership roles in the Entertainment sales and marketing in the commercial company’s Nucoda product line provides a suite of products for the Democratization was also promi- Imaging Division of Eastman Kodak sector of the industry in the Western burgeoning digital intermediate 2K/4K market. nent during NAB discussion sessions. Company. Mazza was named sales and region of the U.S. for the past 10 years. Digital Vision is headquartered in Stockholm, Sweden, with two with Shane Robison, executive VP, marketing manager for the U. S. com- She joined Kodak in 1973. Coar joined wholly owned subsidiaries, Digital Vision (US) in Los Angeles, and chief strategy and technology of- mercial and tv production sectors. Coar Kodak in ‘97. She has been a television Digital Vision UK in London. The company maintains its global pres- ficer of Hewlett-Packard, relating and Jones will manage accounts in the industry account manager in the com- ence through a network of qualified distributors. Digital Vision is that digitization is causing “a massive Western and Eastern regions of the pany’s Western region for seven years. listed on the Stockholm stock exchange. transformation in the media, enter- country. Litt was appointed worldwide Jones recently managed worldwide tainment, broadcasting and produc- advertising director. “These four indi- marketing and business development *** tion industries.” viduals bring both experience and pas- in the commercial production sector of Contact SHOOT editor Robert Goldrich with HD-related news and Keynoting a panel on digital con- sion for the art and craft of filmmaking the industry. Litt joined Kodak in ‘99 as developments at [email protected] or at (323) 960-8035. tent, Robison introduced various to their new roles,” said Ann Turner, an Eastern regional account manager speakers, including some who have regional business general manager and for the commercial industry. 8 SHOOT April 27, 2007 Budapest Bound: Miller PSAs Target Budding Inventors
Continued from page 4 Continued from page 4 part of that incentive program, Miller do?,” a teddy bear attached to noted that Budapest has a healthy spot the machine responds. “Well production community with historic thanks for asking. I ring my bell lensing locales, English-speaking key and I like to dance.” The boy, crew members, favorable crew rates mesmerized and obviously a and other cost-saving advantages. Fur- little perplexed, is distracted thermore, Raleigh Film Budapest is long enough to allow the also connected 24/7 to the resources device’s robotic arm to pull a of Raleigh Studios, Hollywood, giving Band-Aid® from his bruised leg. stateside producers a familiar Southern “Ouch,” he cries. “Yeah, it needs a California conduit to Central Europe. Jonathan Miller little work,” says his sister about Miller most recently served as ex- been one of personal and professional her “Band-Aid® puller.” ecutive producer/principal in Holly- fascination for him. He sees Budapest Baker Smith of harvest fi lms, wood-based commercial production evolving into the next filmmaking hot Santa Monica, directed the PSAs. A young girl takes her ideas to the next level with her “Band-Aid® puller.” house Two Trick Pony. Several direc- spot, nurtured by a rich cultural and ar- “Baker Smith gets absolute real have to learn, it’s something a warmth and fuzziness to the tors there were at press time mulling tistic heritage. “It reminds me of Dublin performances out of people and they are already doing naturally. spots that everyone seemed to over their options and whether to several years ago, which has now be- then he always adds these little The team wanted the PSAs to gravitate to,” he observed. continue under that company banner come the hippest city in Europe. You touches that make him great,” show in an entertaining way Young audiences are already or to seek representation elsewhere. also see Poland emerging on the scene, said Jon Soto, executive creative how fun and rewarding it can be gravitating to the campaign. Miller made his first career mark as and Budapest is next in line. That director at Publicis & Hal Riney. when you do have a thought and “What was nice was going to an agency producer at Leo Burnett, whole arc of the world from Ireland to “One of my favorite parts of ‘Cat you take it a little bit further like Washington D.C. to launch this Chicago, and FCB Chicago. He then the former Soviet Republic is an excit- Magnet’ is the kid hitting the the kids in the spots. They also campaign at a press conference,” shifted over to the production house ing, dynamic region for film.” stick on the ground in the begin- wanted them to recognize how said Soto. “The front of the room arena, serving as president of such Moore cited Miller’s extensive ning. It’s such a kid thing to do.” their imaginations can lead to was fi lled with kids. And it was shops as Image Point Productions commercialmaking pedigree and Research conducted for the the technological advances of just really fun to watch these (the former TV commercial division American sensibility as making him campaign found that children the future without sounding too kids light up and ask questions of Cannell Studios, Hollywood) and an ideal point person for clients look- are innately curious and inven- intimidating or scientifi c. about it. They are being shouted now defunct Harmony Pictures. He ing to produce in Central Europe. tive but they do not realize the Soto is pleased with the at all the time. later headed Los Angeles-based Mu- Moore too is active in the spotmaking impact of their creativity. Soto warmth the spots exude. “When “It’s nice to do something that tiny Productions, the in-house arm community, not only via Raleigh but said the creative challenge for you get into inventions it can respected their intelligence and of TBWA\Chiat\Day. Miller opened also as president of the Association of the team was telling kids with- get into the technical aspects of looked at their intelligence from Two Trick Pony in 2005. Independent Commercial Producers’ out being preachy that inventing what you are doing and it loses a their level instead of talking While best known for his career in (AICP) West Coast chapter steering things is not something they lot of warmth. I think there was down to them.” commercials, Miller is no stranger to committee for associate members. features, having been involved in ear- The launch of Raleigh Film Bu- ly stages of Focus, produced by Robert dapest isn’t the first company move Miller and directed by Neal Slavin. His extending beyond Southern Califor- spot production endeavors also had nia. Moore spearheaded an earlier him working with assorted feature di- initiative to grow the Raleigh foot- rectors over the years—including John print via the Celtic Media Centre, Badham, Rob Cohen, Ericson Core a facility in Baton Rouge (SHOOT, and Peter Hyams—on commercials. 1/20/06), which is contributing to Having produced a number of com- the Gulf Coast’s economic recovery mercials in Central Europe during his in the aftermath of Hurricanes Ka- career, Miller said that the region has trina and Rita. Condon Joins @radical
Continued from page 4 ris, as turning him onto @radical. been such an explosion of style and media. “She was my godmother experimentation in commercials,” he through this process of searching observed. “I felt the need to be a part for the right commercial production of that. It’s a great way to keep the house,” he related. creative juices flowing in between Condon is no stranger to short [feature] projects, which tend to take form. Besides the alluded to spot for longer and longer to get made. TBWA\Chiat\Day, he directed the “But I don’t view commercials music video for Dreamgirls. as just a break from features,” he Currently @radical.media is as- continued. “I take them seriously sembling a reel for Condon that will as their own kind of art form. It’s an be screened for agency creatives and area of incredible inventiveness.” producers. The DVD will consist of Condon described @radical.me- trailers from his feature films as well dia as the ideal roost from which to as the TBWA\Chiat\Day commer- launch into commercials. He cited cial once it is completed in post. the chemistry and positive vibe he Condon currently serves on the feels from the people there, as well board of Film Independent, as well as the company’s worldwide reach. as on the Independent Writers Steer- The director credited Carrie ing Committee of the Writers Guild Wiener, his agent at William Mor- of America. April 27, 2007 SHOOT 9 24767_01 rim Bleed T Live Gutter Gutter Bleed Trim
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This ad created by Dentsu America, Inc. JOB No: VIAP6320B Title: HD Magazine Ad—Spread Client: Cannon Publication: Studio Monthly, Millimeter. DV Magazine, Camcorder & Computer Video Color: 4/C Size: Spread Bleed: 22” x 14 3/4” Screen: Trim: 21 1/2” x 14 1/2” Live: 20 3/4” x 13 3/4” Gutter: 3/8” each side of gutter CHAT ROOM
Liz Myers Refl ections On The “Rhapsody” Of Fallon’s United Airlines Campaign
By Robert Goldrich and Liz Myers, has been a driving force behind this work. We sought out In that this week’s edition features our spring Music & Myers to refl ect on the genesis of the campaign and how it has evolved Sound Series, we thought it appropriate to look at a cam- starting with the lauded “Interview” spot directed by Wendy Tilby and paign that has placed consistently in SHOOT’s Top 10 Spot Amanda Forbis of Acme Filmworks, Hollywood, right through to the mu- Tracks charts over the past three-plus years--none other sical tour de force “The Night” helmed by Alexander Petrov via Pascal than United Airlines’ diverse mix of animation commercials Blais Studio in Canada. featuring creatively inspired incarnations of George Gersh- Myers earned a master’s degree in music from UNC-Chapel Hill and win’s fabled “Rhapsody in Blue.” studied composition with Nadia Boulanger at the “Ecole d’Arts americ- Our look back comes as the United Airlines’ account is aine” and later privately with Jacques Rouvier in Paris. Upon returning slated to shift from Fallon, Minneapolis, to startup Barrie stateside, she was hired as musical director of the Broadway show Grease D’Rozario Murphy, Minneapolis. (Fallon will work on United in New York. She has conducted members of the L.A. Philharmonic in for the next 90 days.) BDM founders Bob Barrie and Stuart original scores for fi lms and other compositions, including commercials. D’Rozario provided much of the creative impetus for Unit- She received a special BMI Award in 2006 for the one millionth perfor- ed’s “It’s time to fl y” campaign during their tenure at Fallon. mance of the song “Shakin’” which she co-wrote with Eddie Money. The Manhattan Beach, Calif.-based Trivers/Myers Music, year prior she and her husband Trivers won a Clio for their arrangement headed by composers/arrangers/producers John Trivers of “Rhapsody” for United Airlines.
SHOOT: How did you become in- SHOOT: The spot they directed was melody gives way to the addition of the pianist. We enlisted Daniel Lessner SHOOT: Next came an ‘06 Super volved in the campaign? the lauded “Interview” in which a strings and some brass. to perform the bravura sections of “A Bowl spot, “The Dragon” (directed man flies to the Big City for an impor- Life” and the featured piano versions by Jamie Caliri of Duck). In it we Myers: A 90-piece orchestra plus tant job interview. Did you stick with SHOOT: “The Rose” was next, a spot of this entire campaign. He brings a see what a dad does on a business pipe organ makes an absolutely in- your original approach musically? painted on glass by animator Alexan- fire and technical virtuosity to “Rhap- trip through the eyes of his dream- credible sound, but one has to go der Petrov. It shows a businessman sody” and is a good jazz pianist. Our ing child. backstage to carry on a phone conver- Myers: Yes. We went with the “pre- mysteriously protecting a rose as he approach has always been to remain sation. In December 2003, my hus- viously undiscovered” parts of “Rhap- boards a plane. He ultimately gives the true to Gershwin’s original concept Myers: Our score was adventurous, band John Trivers actually held his sody.” For “Interview,” we wanted to rose to his mom back home. of “Rhapsody” being a jazz piece first, full, large and filmic in scope, and conversation [with Fallon] in the hall- delay that tie-in [with United] as long and a symphonic work second. brought to life by 60 members of the way of the Rudolfinum Concert Hall as possible. We wanted the audience Myers: We did not want to give away L.A. Philharmonic. in Prague where we were recording a to first become empathetic with this the surprise ending by being overly SHOOT: Then in ‘05 there was the Til- piece from Holtz’s “The Planets” for a character on the day of his interview. sentimental. To help create suspense, by and Forbis-directed “The Meeting.” SHOOT: Petrov returned with “The Pontiac commercial. Night,” which takes a jet-lagged busi- The discussion was about a new For United’s “The Night,” Trivers/ ness traveler to an Asian city where a United Airlines campaign that Fallon moped driver takes him on a whirl- was producing that would be radically Myers blended “Rhapsody” with wind tour that unfolds into a colorful different. Each spot would be a full music from the East, embodied in night of lanterns, drums, dragons, minute and animated with very little masks and shooting stars. voiceover. The music would be telling the performance of Chinese erhu the complete story. player Karen Han in concert with Myers: The klesmer-like clarinet opening of “Rhapsody” was a wail- SHOOT: What was your approach? L.A. Philharmonic members. ing sound that perfectly scores the ennui of the film’s opening scenes. Myers: We wanted to breathe fresh At the moment the moped driver ap- life into “Rhapsody” [which had been SHOOT: Next came “Lightbulb” di- we created a rhythmic ostinato played Myers: A businesswoman tries to pears, the music is transformed into United’s anthem for many years] and rected and drawn by Joanna Quinn of by one piano, which was then joined explain her proposal over the phone the style of traditional Chinese music not just do another version of the Acme. The story centers on a woman by another piano emoting the melod- to clients in a distant city. Via phone composed by John and myself. We ubiquitous piano theme. We decided struggling to come up with an idea, ic portions of “Rhapsody.” comes their response in the form of wanted the Asian music to be even to study the musical score and various which suddenly appears. She flies snakes’ tongues, beaks and other more raucous than the opening. We recorded performances and find the to make presentations of her idea to SHOOT: Next was “A Life” directed animal snouts. She flies to make her asked noted Chinese erhu player “unknown Rhapsody,” the previously others, setting off lightbulbs for them by Michael Deduk De Wit. pitch in person, succeeds in human- Karen Han to perform the solo mu- untapped sections. We spent the next as well. izing and convincing them. Our chal- sical sections, joining L.A. Philhar- three months piecing together ideas. Myers: The track is a simple rolling lenge was to make animal sound ef- monic members. This luxury of time was possible be- Myers: We started with the recogniz- piano piece that I performed to con- fects out of “Rhapsody.” An erhu is basically a stick with cause hand drawn animation takes able piano motif from “Rhapsody,” vey the compressed passage of time in We discovered this raucous mid- two strings on it that is held on the months. The first concept was being but the piano part that followed a man’s life. The music then comes to dle section from the original Paul lap and stroked with a bow. animated and directed by Wendy traced musically the life of this little a pause, as our hero wonders what to Whiteman jazz version that imme- When played by someone with Tilby and Amanda Forbis through lightbulb as it evolved and the idea do with the rest of his life. At that mo- diately reminded us of honks, bleats, Han’s sublime skill, it sounds like the Acme Filmworks. replicated itself. Eventually the piano ment, the music changes, and so does and hisses. cry of the human soul. 11 SHOOT April 27, 2007 VISUAL EFFECTS & ANIMATION
Propel’s “Stress Monster” msnbc.com’s “Spectrum” MyCokeRewards’ “Stairs” Getting Real: VFX Enter A Realism Phase, Drive Stories By Nicole Rivard nal concerns—an unhappy boss, an ing to work technically. At the begin- “It’s a pretty new feature. It’s been al vignette to correspond to each Ask Aaron Baxter and Alex Catch- ambulance, a crying baby—running ning of the spot the monster was 90 being developed over the last couple person’s dream. To remind people poole, VFX supervisors at New York- through the streets of a city to the feet tall. And by the end of the spot of years but it’s really coming into its that they are still looking through a based Guava what the latest “look” is tune of “Under Pressure” by Queen. he’s about 12 feet tall. So all of a sud- own the last six months,” Faden says. window, we added fingerprints and in visual effects and they’ll say, “no As the monster moves through the den you can’t have a 12-foot tall guy Drain and Faden are grateful for a slight prism effect.” look at all.” What they mean by that skyscrapers, its components shed one with an ambulance on his back,” being able to work with director Tools used included Maya, Shake, is that the maturation of visual effects by one to reveal a man jogging along relates Sean Faden, CG supervisor. Baker Smith of harvest films, Santa Boujou and Flame. has manifested itself in effects that, peacefully. A female voiceover says, “Any time we had the big monster, Monica “He usually works with more though incredible, are largely invis- “Fit has a feeling—and a water: Propel our animators would trick him down character-driven things,” notes Drain. “Stairs” ible to the viewer’s eye. Fitness Water.” “He put a lot of faith in To deliver a modern take on the “More than ever, visual effects The spot makes you us and we genuinely ap- famous “Odessa Steps” sequence have moved into a realist phase,” believe there really is preciate that.” from Sergei Eisenstein’s Battleship says Catchpoole. “The best ‘effects’ such a thing as a stress Potemkin in the new Coke spot out are now largely invisible; they drive monster in that he A “Window of of Wieden + Kennedy, Portland, the story and are not there just for looks so real thanks to Opportunity” Ore., West Hollywood-based A52’s impact. You can have something to- VFX house Asylum, VFX and animation photoreal CGI and seamless VFX tally unreal happening, but the look Santa Monica. One of studio Framestore, N.Y. artistry played important roles. now is realism.” the things the client recently teamed with In the spot, a man running He cites Guava’s work for Suncom wanted to make sure BBDO, Smuggler, New through a train station bumps into Wireless. A woman flippantly com- of was that the monster York, and directorial another man, who just opened his plains about her cellular provider’s was very dense and the team Stylewar to create bottle of coke. The Coke bottle long distance restrictions and phones objects had to be rec- an optimistic spot for cap flies out of his hand and begins a far away friend anyway unaware of ognizable as stressful Bank of America. Cen- bouncing down the steps. In despair, what the consequences might be—in objects. A list of 170 dif- tral to the realistic, ide- he watches it tumble, and then envi- this case a giant hawk swoops down ferent objects had to be Suncom’s “Hawk” alistic spot is a window sions it as the flat screen TV he longs and carries her off. modeled. version of the Bank of to have when he earns enough My “The scenario could hardly be The VFX team start- America logo hovering CokeRewards points. The bounc- more unbelievable, but its execution ed with a simple skele- mysteriously over a city ing cap morphs into other objects makes it seem very realistic,” says ton animation running street. Curious passers- that onlookers are fantasizing about Baxter. “It’s an utterly bizarre idea, down the street to get by approach the “win- when they see the cap cascading by. but it is captured on film as if it just a sense of scaling and dow” and peer through, When it rolls to a halt, a crowd of happened. That is what today’s visual pace and imported seeing their fondest people race to it. effects are like: very much of-the-mo- that from Maya into dreams realized. When A52 started the project, the ment, getting viewers involved so that Houdini. They took “Getting this magical VFX team was only supposed to cre- they actually will suspend their disbe- advantage of Houdini’s window to look real, ate CGI Coke bottle caps bouncing lief for a moment.” ability to procedur- not dream-like, was down the steps. The other tumbling Like Guava, other visual effects ally and dynamically a quite a challenge,” elements (flat screen monitor, guitar, houses are painstakingly working to animate objects on top says Theo Jones, VFX paintball gun, vintage Coke cooler, create spots that people see as natural of the base animation. supervisor. “We start- golf clubs, DVDs, and rubber dog toy) and not as effects commercials. In the “We realized it would ed with a reflective were supposed to be in-camera. But di- following examples, SHOOT discov- be best if the character POD’s “Long Distance Moving” chrome look with very rector Jason Smith of Bob Industries, ered they are up for the challenge. animators hand animated the head over the course of a shot and that sharp edges, but after deciding it Santa Monica, decided to shoot them and the feet. Those two pieces were would help us dictate what objects stood out too much, we changed the as separate passes for control and safe- “Stress Monster” kind of the bookends of the monster would have to get lost. Whatever ob- look to a matte black and smoothed ty issues. A52 re-created all the falling Remember when Calgon bath gel and they were imported in Houdini jects were hurting the humanoid form the edges down.” elements but one in CGI to achieve took you away from stressful situ- and then Houdini tools were used to would be the ones we would suggest Creating the dream world within the desired angle and trajectory or to ations? In a new spot called “Stress procedurally fill in the rest,” explains tossing off.” the window was no easy task ei- add in a specific prop that production Monster,” out of Element 79 Part- Mitch Drain, visual effects supervi- Faden says they used Houdini’s ther. It needed to look like it was a hadn’t been able to obtain. ners, Chicago, Propel Fitness Water sor. “Once we had a base monster Rigid Body Dynamics System to pane of glass away from being real. “In the final piece every shot has is today’s Calgon. In the commercial represented by taxi cabs and ambu- control the amount of shedding. In “There had to be a clear, realistic some visual effects from simple clean up a man literally runs his stress off while lances, etc., every time we imported each shot they told the system which delineation between the real and to rebuilding whole shots in post,” says jogging through the city fueled by his new animation it was automatically objects were going to fall off and it dream worlds that still felt very hu- Andy Hall, visual effects supervisor. The Propel drink. applied to that.” would naturally, along with the mo- man,” explains Murray Butler, VFX CGI team included Kirk Shintani, Paulo The spot opens with a monster “One of the challenges was figuring tion of the monster, throw the objects supervisor and lead flame artist. “We de Almada and Chris Janney. made of things representing exter- out how the shedding was actually go- off and bounce them off the ground. painstakingly graded each individu- Continued on page 24 April 27, 2007 SHOOT 12 Top Spot of the Week Mekanism Director Ian Kovalik Fills The Tank For BP, Ogilvy & Mather By Christine Champagne The spot ends with the tagline “BP. vs. live action spots. “And the nice to life. “He used a lot of hyperbole Gas station advertising isn’t typically A little better gas station.” thing is, you can do whatever you in the action, so that’s where the known as innovative. But a lively new want to get an idea across. If you had swaying gas pumps came from,” animated commercial for BP titled Hey, baby real babies driving, it wouldn’t be Kovalik shared. “Babies” pumps some spirit and fun Why are babies the featured players the same.” In addition to injecting personal- into the genre. in this spot? “These babies represent Prior to delving into the anima- ity into everyday objects, Kovalik Part of a three-spot BP Helios the idea that BP is thinking about fu- tion process, O&M needed to come also plotted unusual camera moves. Power campaign created by Ogilvy ture drivers,” O&M copywriter Ryan up with a signature song for the Because he was working in 3D, the & Mather (O&M), New York, and di- Ingram, who worked on “Babies” and campaign, turning to Andrew Felten- director had total control of where rected by Ian Kovalik of San Francis- the rest of the campaign with his art stein and John Nau of Beacon Street to put the camera, so it gave him a co-based Mekanism, director partner Don Studios, Venice, Calif. The resulting chance, for example, to place the au- the :30 “Babies” opens Miller, explained. “Say Hey” sounds like something you dience inside the car with the babies. on four bouncy babies Outlining the strat- might download from iTunes, which Plotting out that action with his team happily driving along egy behind the cam- was exactly what the agency wanted. was a rather interesting experience. “I while grooving to an paign overall, Richard “We didn’t want it to fall into cartoon put four of our desk chairs together, infectiously cheerful Barker, director of [music],” Ingram said. “We wanted and everybody sat down and acted song called “Say Hey.” global advertising/BP something more modern, more like a out what was happening in the car. Noticing their gas brand, marketing and band doing the song.” That was a fun moment. We video- tank is nearly empty, innovation, said, “In When Kovalik and the crew at taped it,” Kovalik said, adding with a the foursome looks for a category where cus- Mekanism heard the song, they were laugh, “That videotape is under lock a gas station but finds tomer expectations are impressed. In fact, Kovalik noted that and key. I’ll never show it to anyone.” slim pickings. The first generally low, doing the music was one of the reasons they Kovalik and his crew spent months place they spot is rath- Ian Kovalik the important things ‘a were eager to work on the project. working on the campaign. The job er uninviting, with a mean-looking little better’ can mean a lot.” “We were like, ‘Wow, this already took longer than it might have be- gas pump wearing an eye patch bully- Barker continued, “Rather than feels like a success,’ ” Kovalik said. cause multiple versions of each spot ing the other gas pumps around it. focus purely on functional benefits, The concept for the campaign was had to be produced for various mar- There is another gas station a bit BP is aiming to create an emotional also a draw, of course. “The boards kets. For instance, the action in the further down the road, but that place connection with its customers so that and stories were really focused and U.K. spots had to be flipped given is a run down mess. when they have a choice between simple but at the same time super cre- that they drive on the opposite side Finally, the babies spot a bright BP turning in to BP or a competitor, they ative,” Kovalik said. of the street. station with smiling gas pumps. They will choose BP.” Then there was the chance to While the process was a long one, pull over and enjoy great, friendly O&M chose to go the animation design and develop characters that Kovalik said it was a lot of fun. “It service, the BP gas pumps whistling route in creating the commercials were used not only in the commer- was a feel-good campaign,” Kovalik while they fill up their tank. for the campaign. “Animation sim- cials but throughout BP’s campaign, reflected, “and that definitely affected Soon enough, the babies are mer- plifies the idea and allows it to come Kovalik added. everyone working on it.” rily on their way, the BP gas pumps through. It’s very direct,” Miller said Competing against some of the big- waving goodbye to them. of the decision to go with animation gest names in animation, Mekanism pulled out all the stops to win the top BP assignment. Kovalik put together 10 different visual treatments, a 3-D animatic and fully boarded one of Spot the scripts. “There is a certain kind of of the week playfulness and fun and innocence to CLIENT Ian’s work,” Ingram commented. “We BP were drawn to that.” AGENCY Ogilvy & Mather, New York 3-D delivery David Fowler, creative director; Don “Babies” as well as the other spots Miller, art director; Ryan Ingram, copywriter; Maria Garelli, senior in the campaign—“Fuels” and “Light- producer house”—are 3D animated. “The whole PRODUCTION COMPANY process was very much like that of Mekanism, San Franciso putting together a big budget Hol- Ian Kovalik, director; Jason Harris, executive producer; Chris Weldon lywood studio movie,” according to and Melissa Duggan, producers Kovalik, describing the animation set-up as a pipeline, with the charac- POST ters drawn in Illustrator, then created Mekanism Richard Krolewicz, illustrator in Maya. Juicebox Animation, San Francisco O&M encouraged Kovalik and Cliff Mueller and Oliver Moore, Mekanism to put their stamp on the animators; Alex Brownell, executive project. “They really gave us license producer MUSIC to go off,” Kovalik said. Take, for ex- Beacon Street Studios, Venice, Calif. ample, the gas pumps swaying to the Andrew Feltenstein and John Nau, music. Kovalik was influenced to add composers; Adrea Lavezzoli, producer that touch by the work of Tex Avery, #,)#+ (%2% 4/ 6)%7 30/4 AUDIO POST the late animator/director famed for Lime Studios, Santa Monica. Driving merrily along in a car, a quartet of babies grooves to an infectiously cheerful song called “Say Hey.” Their vehicle low on fuel, they eye some not bringing Looney Tunes characters Rohan Young, mixer so cheerful looking gas stations before they find and pull into a fun, bright BP stop, replete with smiling gas pumps that whistle while they work. such as Bugs Bunny and Daffy Duck 13 SHOOT April 27, 2007 The Best Work You May Never See Director Eric Heimbold Spans The Generations By Robert Goldrich He also values the chance it has given him to collaborate with what are two savvy, Eric Heimbold, the director behind the Ford-sponsored music videos on American creative bosses—Ford agency JWT, Detroit, and Fremantle Media, the producers Idol, is looking himself to be discovered and a means to that end is his new spec of American Idol. spot, “Strip Poker.” Heimbold has directed the popular music videos for Idol in its second, fourth Heimbold was actively seeking out the proper spec concept. He was put in touch and now its current fifth season. Last year that endeavor translated into his direct- with freelance creative Rick Rosenberg by Chuck Sloan, president of Santa Moni- ing via Plum a Ford spot featuring fourth season Idol winner Taylor Hicks for ca-based Plum Productions. Heimbold signed with Plum last year. JWT, Detroit. Rosenberg had a spec concept, which he shared with Heimbold who was im- mediately drawn to the premise and asked his lean, nimble American Idol team—in- Beyond Idol cluding DP Tony Molina (who’s become an established cinematographer, working Heimbold’s filmography goes beyond his Idol-related projects. He has indepen- regularly with director Bob Giraldi) and production designer Brandi Kalish—if they dently established himself as a music video director, turning out such clips as The would help him get it made. Plum also brought its support to the party with Beth Baja Men’s “Who Let The Dogs Out?” and the Brian Setzer Orchestra’s “Jump, Pearson and Shelby Sexton serving as exec producers, and Heimbold calling in Jive and Wail.” Heimbold’s music video chops also helped garner him the oppor- some favors to produce the job on a shoestring budget. tunity to direct spots promoting Broadway productions, including The Full Monty The spot opens on a hot game of strip poker with two guys and a pair of knock- and The Radio City Music Hall Xmas Spectacular. out girls at the playing table. Clearly the game has been going on awhile as the Additionally Heimbold has some atypical advertising to his credit. Via the Fre- young men are pretty much down to their skivvies and the gals are only clad in mantle connection, he directed spots for its American Inventor show on ABC last bra and panties. year. The TV ads were actually part of the show’s competition finale, promoting As the camera follows the players, we are beyond the bluffing stage as each man two of the four finalist inventions. The contestants used the commercials as spring- triumphantly announces his hand—one has three aces, the other a full house. boards to help them get TV audience votes—the winner of the competition re- One of the buxom girls admits she has nothing, which prompts the two guys to ceived $1 million and mass production of the invention. As it turns out, Heimbold congratulate each other for the eyeful they’re anticipating. directed the Plum-produced spot for the eventual winner, Janusz Liberkowsky The bombshell lass starts to unclasp her bra when the proceedings are inter- who created the Anecia survival capsule, a car seat designed to keep a baby safe. rupted by a man who enters the room. He appears to be an attendant or custodian of some sort as the camera focuses on him standing at the door and asking in dis- Client Centrum Vitamins (spec commercial) Agency Rick belief, “What’s going on?” Rosenberg, freelance copywriter; Jillian Stern, freelance art di- The camera returns to the card table where the players have instantly aged into rector Production Plum Productions, Santa Monica Eric Heim- senior citizens, with the woman, now a bit heavyset, still undoing her bra. bold, director; Chuck Sloan, president; Beth Pearson, Shelby Sex- A super then appears which puts what we’ve just seen into context; it simply ton, executive producers; Ted Robbins, Scott Cunningham, line reads, “Feel young again,” accompanied by the logo for Centrum Silver vitamins, producers; Sandy Haddad, associate producer; Tony Molina, DP; which are formulated to keep the elderly feeling healthy and vital. Brandi Kalish, production designer Editorial 60HZ, Santa Mon- Rosenberg wrote “Strip Poker,” teaming with his freelance art director col- ica Oliver Power, editor Post Encore Hollywood Arnold Ramm, league Jillian Stern. Laura Jans, colorists; Griffin Guess, executive producer Sound 740 Sound, Santa Monica David Barnaby, sound designer/audio post mixer; Scott Ganary, executive producer
Spec strategy credits “Strip Poker” is the second spec spot recently directed by Heimbold, the first A senior moment: Feeling oh so young again. being an ambitious car job based on a concept from a creative team at TBWA\Chiat\Day, Los Angeles. “I’m looking for work that will showcase to the agency community what I can do,” related Heimbold, noting that while the American Idol clips are high pro- file on a hit primetime show, “they are not necessarily showcase pieces” when it comes to making major in- roads into mainstream commercialmaking. Still, the Idol fare has been invaluable as Heimbold has had the chance to work successfully under ex- #,)#+ (%2% 4/ 6)%7 30/4 tremely tight turnaround times and limited budgets. Does your SHOOT mailing label on the front cover say RENEW? www.shootonline.com
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Steve Caplan Refl ects On His Eventful AICP Tenure Setting Up Having joined AICP in 1998 and Camp At If helpingso, it toSHOOT attain numerous goals, may stop coming soon, you need to update TODAY. including breakthrough spot filming Determining incentive programs in New York and Riney, S.F. Los Angeles, executiveGo VPto Caplan WWW.SHOOTONLINE.COM/GO/RENEW By RobertNow! Goldrich b SAN FRANCISCO W h b What’sApril 27, 2007 SHOOT 14 iWork Web Films Directed By Stacy Wall Let Office Workers Know Microsoft Has Their Backs McCann Erickson Helps To Create Fun, Informative Site Promoting Office 2007
By Nicole Rivard SAN FRANCISCO--For the launch of Office 2007, McCann Erickson in San Francisco helped Microsoft get the message across to office workers around the globe that it feels their pain by engaging them at www.office2007.com. The inter- active site is equal parts entertaining and informative. The entertainment is provided by five two-minute web films directed by Stacy Wall of bicoastal Epoch Films. Each one is developed from what Microsoft con- siders pain points and depicts a darkly humorous situation in which international businesspeople grapple with disastrous consequences of ineffective software. For instance, Nightmare, which shows a German executive botching a presentation, addresses the need to communicate effectively and persuasively. Each film ends with an interactive component—visitors can participate in a demo of the Microsoft Office 2007 feature that goes along with the point of pain addressed in the film. The site was built in-house at McCann. “There is a real opportunity to do something pretty special and interesting with #,)#+ (%2% 4/ 6)%7 30/4 all the different kinds of media and ways of connecting with people that are avail- able to you as a marketer right now,” explained John McNeil, executive creative In Divider, two co-workers meet for the first time after working together for 30-plus years. director. “With the launch of Office 2007 in particular we thought it was a real op- portunity to display the benefit of using the new version in a see-it-for-yourself kind but instead it was an inferno,” McNeil said. “It was also done with a certain kind of of way. To get people to try it, you need to get people to a place where they can try poetry to it. What I love about Stacy is he really does know how to tell a story with it, to a point they are willing to opt into lots of different types of experiences.” all the different parts that are at his disposal, in terms of filmic effect, music, decid- Knowing that the films couldn’t be goofy or frivolous to get people to opt into ing whether or not something should be performed as an on-camera dialogue type watching them, the McCann team tapped Wall. “He actually brought an extra level of thing or whether we should consider voiceover. Stacy was a real partner in terms of ambition to the project. He really embraced the project and really made the films of how we talked about and executed the work.” very special in a way that was about capturing the language of filmmaking as op- Since the web films are airing internationally, Wall suggested they have an in- posed to commercials,” McNeil said. He cited the film Mesmerize as an example. ternational look and feel, from casting to set design and costumes. He worked with agency creatives to create the voiceover as the unifying element in the films. They Client Microsoft Agency McCann Erickson, San Francisco Rob Mesmerizing Work were shot over six days on five different sets created on two stages in Tempe, Ariz. Bagot, John McNeil, executive creative directors; Kevin Gammon, In Mesmerize, workers are so en- Wall credits Epoch producer John Duffin for assembling the right team and mak- associate creative director; Therese Vreeland, producer; Rob tranced with something on the com- ing it all happen. Of the five films, Divider is his and McNeil’s favorite. Bagot, Juliana Cobb, copywriters; John McNeil, Kevin Gammon, puter that they fail to notice a piece In the film, viewers see two co-workers who have never met--even though Aviva Kapust, art directors; Kelly Arens, Stuart Roud, Web of toast catch fire in a toaster in their they’ve worked together for 30-plus years--because of the office divider between AD; Ibrahim Arsalan, Paul Oberlander, flash programming Production Company Epoch Films, bicoastal Stacy Wall, office kitchen, eventually engulfing them. The company was slowly dying until the divider was removed. The co-work- director; Sal Totino, DP; Jerry Solomon, executive producer; John the kitchen and entire office in flames. ers meet, shake hands and begin talking business. Similar connections are also Duffin, producerEditorial The Whitehouse, Santa Monica Rick Even with water from the fire sprin- made amongst other workers and electricity fills the company. At the end, visitors Lawley, Lisa Gunning, editors; Gail Butler, producer Telecine klers soaking them, the office workers can try demos of programs that facilitate working together, such as Live Meeting. Company 3, Santa Monica Sean Coleman, colorist VFX/Post can’t take their eyes off the screen. “No “I like the sort of charm and simplicity to all of the films,” said Wall. “Some Ring of Fire, Santa Monica John Myers, executive producer; Justin one should underestimate the powerful criticism has come from people who’ve said, ‘So what did that film really tell me?’ I credits Beaupre, Casey Conroy, Alex Mannone, producers; Jerry Spivack, creative director; John Ciampa, flame/online artist; Chris Navas, attraction of an intuitive new interface,” would venture to say that what it tells you is something new is happening with Of- graphics; Greg Anderson, VFX supervisor Music Elias Arts, Santa says the voiceover. fice 2007 and you should check it out. That’s about as much as you can expect from Monica Jonathan Elias, composer Sound Design Play, Santa “That could have been a small fire in an ad. I think too many people make the mistake of trying to prove something in an Monica Chris Hildrew, sound designer a very unimpressive kind of depiction, ad. It’s about getting people intrigued by something.”
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 May 11 ‘07 Issue May 25 ‘07 Issue June 8 ‘07 Issue 818.763.2678 [email protected] MOBILE ADVERTISING AD AGENCY PRODuCERS AD AGENCY CREATIVES International CINEMA ADVERTISING PRODuCTION Roberta Griefer SHOOT’s COMPANIES CINEMATOGRAPHERS 203.227.1699 ext. 13 NEW DIRECTORS NEW YORk [email protected] SHOWCASE PROFILES & CAMERAS ADAGENCY NEW DIRECTORS Recruitment/Classified Bonus Distribution: SHOWCASE COVERAGE [email protected] MVPA Awards, AICE Awards, PERSPECTIVEON SHOOT’s New Directors HD PRODuCTION & POST CANNES PREVIEW Showcase Event Bonus Distribution: Bonus Distribution: SHOOT Panel at HD Expo, Chicago Cannes Lions Intl Ad Festival, Promax Ad Deadline: May 4 Ad Deadline: May 18 Ad Deadline: June 1
15 SHOOT April 27, 2007 MUSIC & SOUND
Wieden-ing Its Reach
Wieden+Kennedy made some noise on SHOOT’s spring Top 10 Spot Tracks separates the infield from the track just in time to see and hear the cars roar by. chart—taking slots one, two and three for, respectively: Nike’s “Breath” out of A tagline simply reads, “It’s the life.” Agency Scores W+K, Shanghai; ESPN’s “The Sound of Speed” from the agency’s New York W+K art director Stuart Jennings relates that the commercial is designed “to office; and Lurpak Butter’s “Bread” via W+K, London. speak to our primal, instinctive attraction to speed in general.” Soundly Atop For “Breath,” bicoastal music and sound house Elias Arts was brought into Adding to the impact is that the fascination with speed is seen through the the project a bit later than usual, which in this case proved to be an advantage. eyes—and heard through the ears—of children, tapping into their imaginations SHOOT’s Noted hip hop producer Timbaland had done a full instrumental music track and our recollection of what we imagined when we were young. Spring for the spot, which shows us a bevy of world-class athletes—-including basket- “Our approach was to stick with that simplicity and to try not to build too ball star Kobe Bryant, tennis champion Roger Federer and soccer great Ron- much through the sound,” relates Miller. “The idea was so pure that we wanted Tracks Chart aldinho—training on the same indoor athletic field. Through the magic of visual to keep it that way.” effects, they all appear together even though they were filmed separately. Miller notes that collaboration was key—with the agency team, director Hen- By Robert Goldrich Elias creative director David Gold recalls that he and his crew got their first ry Lu of Moxie Pictures, and with his assistants on the job at The Whitehouse, look at the job when it was pretty much a polished, finished piece. “The spot Kim O’Donnell and David Cea. “Kim and David just kind of jumped in, coming Whad been cut, all the compositing had been done and it was edited to a really up with sounds that would do justice to the concept. By random chance, Kim great, really hot track [from Timbaland],” says Gold. “The commercial looked was working on a short film that literally had a bicycle in it, with a Topps base- and sounded cool but for Nike the original idea—the sounds of professional ath- ball card in the spoke. She was able to pull from that source as did David and letes exerting themselves, breathing as they put themselves through rigorous myself from others. Everybody was pulling out different layers.” paces—got a bit lost.” For the most part, relates Miller, “The sounds were pretty natural—going on Gold notes that Elias came in and tackled the project from a sound design ap- the Web to find a kid operating a remote controlled car and so on. Plus there proach. The Elias talent included sound designer Dean Hovey and composers were scenes for which we would blend two or three tracks together. Even with Kenny Segal and Nate Morgan. They had the benefit of being able to utilize key the roar of the NASCAR race—which you see fills the boy watching with awe— elements—Timbaland’s track and some breathing sounds of the actual athletes was a mix of the actual sounds of a race, with some Astin Martin engine sounds recorded by the spot’s director, Paul Hunter of HSI. Elias built upon this body of mixed in to add to the rumble.” work, weaving in a composition of human breathing rhythms covering a wide Editing the spot proved advantageous in the sound design, observes Miller. range from an athlete’s internal sigh to the breathing sounds and feel of exer- “I did the first cut silent, conjuring up sound effects in my mind, which helped tion and exhaustion linked to physical activity. The Elias music and sound de- as we tried to define and then find the realistic sounds we needed. Henry Lu sign contributions then lead the audience to Timbaland’s original track, which was also great in terms of feedback, keeping us thinking of what sounds were is the culmination of the spot. and how we heard them when we were kids. His input had us fine tuning and The commercial also in a sense serves as a lead-in to a version of the commer- rethinking from a child’s perspective.” cial on Nike’s website, which plays to the full-length Timbaland track. Audio post mixer was Tom Goldblatt of audioEngine, New York. “The key ingredient we brought to the project was the human element, the breathing and the creation of rhythms to promote the breathing concept, mak- “Bread” ing sure it was believable in the context of great athletes in training, relates For its client Lurpak Butter, W+K, London, decided to pay homage to bread— Gold. “Every step along the way—prior to and during our involvement—was not the green stuff, but the stuff of life, the loaf as comfort food. Titled “Bread,” valuable in the process, with all these different artists brought in at different the spot opens with an explosion of flour and dramatic coverage of each stage times contributing in various ways to the final track.” of production—mixing, rising, kneading and baking. A baker’s hands are seen Audio post mixer was Jeff Payne of Eleven Studios, Santa Monica. shaping and nurturing the loaf. The voiceover is a tribute to the power of fresh- baked bread. “The smell alone can sell a house,” says the male narrator. Sans Music The bottom line: Bread deserves respect. And the best way to show respect is For “The Sound of Speed,” Crandall Miller of The Whitehouse, New York, to spread Lurpak over a slice. who edited and served as sound designer on the spot, says the agency made a The spot positions Lurpak as a champion of good food. “Bread” is one of creatively inspired decision “to go without music, just to play up the sounds.” three spots in a campaign, the other two honoring the mushroom and potato. Relying on a series of vignettes and sound design, the spot—promoting The commercials were directed by Partizan’s Antoine Bardou Jacquet. ESPN’s broadcast of NASCAR races—depicts children appreciating the All the foods are given an edge through abstract sound design and audio post sound of speed. mixing from Parv Thind of Wave Recording Studios, London. While one little boy uses a clothespin to attach a playing card to the spokes of “An abstract sound design is the perfect match to these stunning and un- his bike tire so he can hear the whirr as he pedals along, other kids get amped usual visuals [depicting and reflecting the spirit of food,] observes Thind who up playing a video game featuring loud racecars. Older kids zoom about outside decided to use what he describes as “an earthy theme when selecting appropri- in go-carts. Another child sits in the backseat of a car, lulled into a tranquil state ate sound effects. In ‘Bread,’ for instance, the explosion of flour is symbolized by From left to right, SHOOT’s Top by the sound of the car and the passing traffic. the sound of crashing waves, and the kneading process was conveyed by mov- 10 chart toppers: The spot winds up on the infield at a NASCAR race where a boy cruises ing rocks. The voiceover is very powerful and distinct so I used it as a rhythm, Nike’s “Breath,” ESPN’s “Sound of around on his bike, hopping off and rushing up to the chain link fence that constructing sounds around the pace of his words.” Speed” and Lurpak’s “Bread” April 27, 2007 SHOOT 16 TOP TEN Spot Tracks TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION Nike’s Elias Arts, bicoastal Eleven Studios, Santa Monica Weiden+Kennedy, Shanghai HSI Productions, “Breath” David Gold, creative director, Jeff Payne, mixer; Mike bicoastal/international Ann Haugen, executive producer; Franklin, assistant mixer; Paul Hunter, director 1 Kenny Segel, Nate Morgan, composers; DJ Fox-Engstrom, executive Dean Hovey, sound designer. producer. CLICK HERE TO VIEW SPOT > ESPN’s The Whitehouse, Chicago audioEngine, New York Wieden + Kennedy, New York Moxie Pictures, bicoastal “The Sound of Speed” Crandall Miller, sound designer Tom Goldblatt, mixer Henry Lu, director
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CLICK HERE TO VIEW SPOT > Lurpak Butter’s Wave Recording Studios, London Wave Recording Studios Weiden+Kennedy, London Partizan, “Bread” Parv Thind, sound designer Parv Thind, sound engineer bicoastal/international Antoine Bardao Jacquet, 3 director
CLICK HERE TO VIEW SPOT >
Visa’s Machine Head, Venice, Calif. Lime Studios TBWA\Chiat\Day, Los Angeles HSI Productions “Downtown” Junkie XL, composer Rohan Young, mixer Paul Hunter, director (Original composer of “Downtown” 4 was Tony Hatch) Lime Studios, Santa Monica CLICK HERE TO VIEW SPOT > Rohan Young, sound designer
GE’s David Horowitz Music Associates Buzz, New York BBDO New York BUF Compagnie, Paris “Frog” (DMHA), New York Michael Marinelli, mixer Melissa Chester, Christophe Dupuis, director David Horowitz, composer/arranger executive music producer 5 Jan Horowitz, executive producer
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BP’s Beacon Street Studios, Venice, Calif. Lime Studios, Santa Monica Ogilvy & Mather, New York Mekanism, San Fransisco “Fuels” Andrew Feltenstein, John Nau, Rohan Young, mixer. Ariel Prince, music producer Ian Kovalik, director composers; Andrea Lavezzoli, producer. 6
CLICK HERE TO VIEW SPOT >
Nestle Drumsticks’ Level 2 Music, Melbourne Gusto Music, Melbourne Publicis Mojo, Melbourne and Good Oil Films, Sydney “Rituals” Free Design, composers (based on the Colin Simkins, mixer Sydney Hamish Rothwell, director 1960s group’s summer tune “Love You”) (repped stateside by 7 TWC, Santa Monica)
CLICK HERE TO VIEW SPOT >
Mastercard’s Musikvernuegen, Hollywood Howard Schwartz Recording McCann Erickson, New York Moxie Pictures, “Elle Phant” Walter Werzowa, composer/sound designer; (HSR), New York bicoastal/international John Luka, composer. Steve Rosen, audio mixer. Jim Sheridan, director 8
CLICK HERE TO VIEW SPOT >
G4TV’s Emoto, Santa Monica Lime Studios, Santa Monica 72andSunny, El Segundo, Calif. The Oil Factory, Beverly Hills “Goddess of Tony Morales, composer/arranger Mark Meyhaus, mixer Tomorrow’s Brightest Minds, Digital Goodness” 740 Sound Design, Santa Monica directors. 9 Eddie Kim, Justin Hopfner, sound designers. CLICK HERE TO VIEW SPOT >
Nabisco 100 Music For Picture, New York RavensWork, Venice, Calif. DraftFCB, New York Biscuit Filmworks, Calorie Packs’ Jared Hunter, composer, Eric Ryan, mixer Los Angeles. “Tango” Ben Davis, producer. Adam Cameron, director 1 0
CLICK HERE TO VIEW SPOT >
17 SHOOT April 27, 2007 MUSIC & SOUND
Music Houses Diversify, Explore New Relationships
Continued from page 1 Bang’s longstanding office there as Coast base through MOD’s studios and that gives us as Bang/MOD that world and the coming together of well as Europe where Bang artisan in Santa Clarita, Calif. (just outside much more to offer for our commer- two music shops in a mesh that in a Espen Noreger moved a couple of Los Angeles), with access to an ad- cial clients.” sense reflects the evolving conver- years ago. Noreger is based in of- ditional facility on the Sony Pictures Additionally MOD’s entertain- gence between the advertising and fice and studio facilities in Stavan- lot in Culver City, Calif. ment chops could open up more entertainment communities. ger, Norway, an operation that is “This isn’t simply a pooling of fa- opportunities in that sector—as well The latter is New York-headquar- overseen by senior producer Ha- cilities,” related Bang founder/part- as in the branded content arena—for tered Bang Music, best known for its vard Hana. ner Lyle Greenfield. “It’s an expand- the Bang ensemble. For these proj- work in commercials, joining forces Conversely, Bang gains a West ed pool of talent that can collaborate Continued on page 19 with the Los Angeles area-based Media On Demand (MOD), which is well established in the entertain- ment landscape, currently handling Aaron Green sound design and audio post for Spi- place.” MOD’s coterie of talent has der-Man 3, as well as music and au- also “ghost written,” said Green, dio post for assorted TV series. The for a number of commercial mu- new joint entity operates under the sic houses. Thus MOD has been Bang/MOD banner. involved in some high profile ad MOD principal Aaron Green—who assignments while having to main- now becomes executive producer of tain a low profile. By connecting Bang/MOD, West—noted that the with Bang, that MOD talent can combined company “helps us on shed its cloak of anonymity in several levels, including bringing the spot world and contribute to an advertising industry perspec- creatively worthwhile projects for tive and knowledge that will en- agencies and advertisers. able us to move into some of these There’s also the appeal of extend- new branded entertainment forms ing one’s geographic reach as MOD that are developing in the market- gains footholds in New York via
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April 27, 2007 SHOOT 18 MUSIC & SOUND
Music Shops Spread Their Wings, Embrace New Media
Continued from page 18 music soundtracks for several TV se- Smallville, Platoon, Driven), super- musician Derek Menzies, senior ects—as well as commercials—Bang/ ries, most notably Scrubs, over the past vising sound editor/sound designer producer/account exec Sara Russo, MOD has talent and facilities on couple of years. MOD’s Green said this Paul N.J. Ottoson (Spider-Man 2 and senior producer/new media strate- both coasts so that it can work face experience demonstrated that the 3), supervising sound editor/sound gist Julian Duff, engineer/musician to face with agencies, producers and companies are like-minded and that designer/field recordist Rob Nokes Winston Philip and DJ/producer/ clients. “This represents a quan- their artists have a healthy collabora- (The American President, Seabis- mixer Jean Cabrera. tum leap in terms of size and scope tive rapport, leading to the mutual de- cuit, The Insider, and TV show Currently Bang/MOD is working for us, jointly extending our reach cision to launch Bang/MOD. Bones), composer/musician Darby on original music and audio post for across the country and overseas,” Greenfield, Jones and Green are Orr (Fox’s Drive, trailers for Buena several new TV series such as The said Greenfield. founders of Bang/MOD with Green- Vista, soundtracks for Time War- Riches on FX, Drive and Dirt on The relationship between Bang field serving as its creative director, ner, DirecTV) and engineer/mixer FOX, Shear Genius for Bravo, Sun- and MOD evolved in practice before East-West, and Jones as exec produc- Francis Buckley (Alanis Morrisette’s set Tan for the E! Channel and an as it began developing in theory, not- er/composer, East. The combined “Jagged Little Pill,” Quincy Jones’ yet untitled MTV reality series. ed Greenfield, who explained that shop brings together such talent as “Q’s Jook Joint”), and key Bang spot Lyle Greenfield Bang composer/partner Brian Jones MOD’s music supervisor/music edi- artisans such as composer/musician Diversification tions of that song constitute the global has teamed with Green and MOD on tor Richard C. Stewart (Ghostworld, Jane Mangini, Noreger, composer/ Indeed music houses are diversi- music theme for the BP campaign, fying into new media forms, a prime done by Beacon Street. which retained example being Venice, Calif.-based the rights to “L.A.” and is currently in Beacon Street Studios which wrote discussions with three different labels and produced full-length songs for about the CD album deal. the four opening episodes of Under- cover Cheerleaders, the debut series JibJab on production company Hungry A new media collaborative tradi- Man’s entertainment/comedy web tion that started in ‘04 continues with channel, which is slated to be up and What We Call The News, the latest 7E HEAR YOU running on May 22. Hungry Man’s JibJab Media animated spoof, which Bryan Buckley directed Undercover again features an original song from Cheerleaders, which will be the first Wojahn Bros. Music, Santa Monica. of five series debuting now through Brooklyn online animation studio sound design the summer on the channel. Plans JibJab became best known for the original music for the channel were earlier re- ‘04 election parodies This Land and ported on in SHOOT (4/20), part of Good to Be In D.C., which became voice casting the initiative being spearheaded by part of pop culture after generating record Hungry Man Entertainment (HME), some 80 million hits on the Inter- mix a recently formed division being net. In late ‘04, Wojahn and JibJab headed by Mark Grande, former di- began teaming on shorts, the first surround rector of development for Howard being the animated holiday cartoon ISDN Stern’s production company. Santa Clause, which premiered on HD Beacon Street principals, compos- Yahoo! Entertainment. ers Andrew Feltenstein and John Subsequent collaborations includ- Nau, teamed on Undercover Cheer- ed the ‘05 Sundance Film Festival leaders with producer/composer Co- opening trailers, then Roll Out the lin Wolf and performers Biff Chitlin Barrel and Twisted Sister for Bud- and Lady G. While the series plays weiser, Big Box Mart and 2-0-5. WWWSOUNDHOUNDCOM like a comedy, the humor is a poi- Most of the projects that Wojahn 45 W 45th St. NYC gnant social commentary, which is Bros. have done with JibJab have what drew Feltenstein to the proj- been similar in terms of the work- Andrea Rhodes ect. He described each episode as a ing process. JibJab comes to Wojahn short morality play. with a script of parody lyrics to an [email protected] Beacon Street is also foraying into existing song. They then team and network TV series, with Feltenstein figure out what type of instrumen- and Nau composing the theme and tation will work the best with the score for Driving School, an NBC piece. They then record the music, series set for a summer run, with the vocals, the voiceover and some- director Phil Traill of Paranoid Proj- times the sound design. Wojahn also ects. The show is being produced by does the final mix. Reveille Productions (The Office). The relationship was cemented Feltenstein and Nau are additionally by brotherhood—two pairs of broth- doing the theme and underscore for ers, Roger and Scott Wojahn, and Schooled, an ABC summer series Jib Jab’s cofounders Gregg and Evan (three hourlong episodes) inspired Spiridellis—and the whacky sense of by the special of the same name out irreverent humor they share. of DDB Chicago for client Office- What We Call The News—driven Max (SHOOT, 9/22/06), which pre- by a variation of Battle Hymn of the miered on ABC Family Channel in Republic—is a sendup of journalism August ‘06. The new series is from today, or the lack thereof, where the Chicago firm Escape Pod. serious stories never see the light of And Beacon Street is producing day as news anchors and reporters an album for the band MOB (Mes- instead give us a steady diet of Brit- sage of the Blues), the centerpiece ney Spears and Anna Nicole Smith. of which is the single titled “L.A.” Por- Continued on page 24 19 SHOOT April 27, 2007 FLORIDA
Flocking To Florida Last month the Florida Governor’s Office of Film and Entertainment reported Films. Clients have included Telefonica, Foster Grant, Cingular, Honda, Home there were movies shooting in three major Florida cities at the same time, some- Depot, Hellmans, Crest and Volkswagen. Hispanic thing that hadn’t happened in quite some time. Down south, a 20th Century Fox “Among the most interesting spots shot here in the last few months has feature, Bachelor Party 2, starring Sara Foster, was filming in the Miami area; in been an Opel commercial. London-based Home Corp. shot in dozens of local Advertising Is Orlando there was Morgan Creek’s Sidney White and the Seven Dorks, a comedy odd locations for the car commercial, including inside one of our libraries. In starring Amanda Bynes; and in Jacksonville, the indie film Rocket, a feature star- post, they will make it look like the car is actually driving around in all of these Flourishing, ring Sharon Stone, Jimmy Fallon and Tom Arnold, was in production. strange places,” says Peel. The future also looks bright for commercial production. State film commis- He notes Miami Beach remains a hot location, as does the new Performing sioner Paul Sirmons is optimistic that Florida will be able to attract more com- Arts Center in downtown Miami. Providing mercials, music videos and digital media projects soon if the legislature passes Peel has been working closely with the Association of Independent Commer- the new proposed financial incentive (HB 1325 and SB 96) since it will finally cial Producers’ Florida chapter and other local film commissions to promote Creative Solutions work in their favor. the state as a production “The bills in the House destination, according to That Transcend Land in the Senate that will Massimo Martinotti who make our incentive pro- heads Mia Films and is gram commercial and mu- president of AICP Florida. Culture sic video-friendly are still “We have been cooperat- making their way through ing with [film commission- By Nicole Rivard the legislative process. We ers] Jeff Peel, Graham Win- will know their fate no ick (Miami Beach), Robert later than May 4, as that is Parente (City of Miami) when the session ends. So and Rita Brown (Florida far they have passed com- Keys) to communicate the mittees with all positive advantages of shooting votes—not one vote against here to producers, agencies either bill. and clients both in the rest At press time, the gov- of the United States and in ernor’s office noted that Europe. We are planning two commercials were in at the moment actions, for production, one for Garda- instance, in London and sil being shot by Milagro Spain,” Martinotti says, Films, Los Angeles and adding those actions will one for Suncom Puerto likely include lunches and Rico, being produced by dinners with decisionmak- Metropolis Films, San ers in both cities. Juan, Puerto Rico. Among those advantages Even without the imple- are the variety of locations, mentation of the financial incentive program, commercial production is up technical and human resources and a creative edge, Martinotti points out. “Mi- slightly this year compared to 2006, reports Jeff Peel, director of the Mayor’s ami has a special connection with Europe and Latin America. If I had to define Office of Film & Entertainment, Miami-Dade County. He says 88 spots have the production industry here, I would say that it is eminently international and been shot in Miami so far in ‘07, worth about $10.7 million in direct spending multicultural. The production companies based in Miami have established re- there. Of those, 70 were produced in English, 15 in Spanish and another three lationships with directors from different part of the world: Argentina, Brazil, in other languages. In ‘06, 86 commercials were shot there in the same period , Mexico, Italy, Spain, France, and Germany. What we can offer is indeed a global worth about $10.6 million in direct spending there. approach to every project from a creative perspective and a logistic standpoint.” Production companies that have shot there recently are Milagro Films, bi- coastal/international @radical.media, Rhythm + Hues, Los Angeles, Anony- Agency perspective mous Content, Culver City, Calif., bicoastal The Artists Co., bicoastal MacGuffin Luis Miguel Messianu, chief creative officer, del Rivero Messianu DDB, Coral Films, Screen Gems Studios, North Carolina, bicoastal Go Film, Catatonia Films, Gables, says the agency has been producing considerably more in Florida. In Mexico and Giraldi, New York, among many others, including Miami’s own Mia Continued on page 21 April 27, 2007 SHOOT 20 FLORIDA
Clients Are Investing More In Hispanic Market
Continued from page 20 the quality and standards you find DRMDDB’s core business. “It’s a fast clients are investing in it more and we’ve come a long way baby,” says 2006—half of its spots were produced in other major markets. In addition, growing one,” Messianu says. coming up with more initiatives for it. Messianu. “Hispanic work in gen- in Miami. Hispanic casting has improved con- Rodrigo Vargas, senior producer at But the growth is not only in terms eral has improved its standards. We “There are more and better options siderably with migration from Latin Conill, Miami, believes that the big- of dollars and cents; there’s been an went from selling the business case now. Both the production and post- America,” he says. gest trend in commercial production progression in the creativity behind and opportunity to now selling the production companies have grown, Like the other agencies SHOOT has been the growth and expansion of Hispanic advertising as well. ideas. Before we had to sell the vi- attracted better talent and now offer spoke too, Hispanic advertising is the U.S. Hispanic market, saying that “There’s still a long way to go but ability of the market and now that
Paul Sirmons has proven itself and clients realize the great ROI it brings is now about better creative solutions. “You can look at it as going from the functional to the emotional. Now it’s about the aesthetic value beyond just the performance.” He recently produced with Mia Films two spots for Marshalls, which are the Hispanic renditions of “The Marshalls’ Principles.” “Those two spots were quite an evolution from the previous work and are very fashionable and contemporary,” Messianu says. Other recent work included a cam- paign for the Miami International Film Festival, which consisted of a media spot called “Is he?” and three trailers that were shown before every film. Those trailers were pitch dark and an intriguing track told a story. The tag was: “Films that leave some- thing to the imagination.” The agency had also produced five new spots for McDonald’s. For Royal Caribbean International, it shot two spots with Letca Films helmed by Argentinean director Henry Meziat.
Daniel Marrero Speaking to Messianu’s point of better creative solutions and making emotional connections with Hispanic spots, among the recent work Daniel Marrero, partner, Creative On De- mand, Coral Gables, is most proud of are two spots for Volkswagen shot in English and Spanish in Miami. Continued on page 23 21 SHOOT April 27, 2007 The moments you live for live here.
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Alternative Media Projects Are On The Upswing
Continued from page 21 from the old car, while harboring that work, U.S. Hispanic agencies have says Rodrigo Vargas, senior producer. Called “Confrontation” and “Tak- inner delight of getting into a brand found their projects being picked up “I would say that the main reason ing it Back,” they show what it’s like new VW. We think they’re pretty and adapted to the general market. why the general has picked up and to break up with your old car because breakthrough for the automotive cat- Case in point is Conill, a 100 percent adapted some of our spots, is basically you just can’t resist a new Volkswa- egory,” Marrero says. U.S. Hispanic agency. because of the creative work that is gen. “[Director] John Dolan from “In the last years many of our pro- behind each spot. The creative team Anonymous Content really brought ‘Interacculteration’ ductions have been picked up and of Conill led by Antonio Lopez, execu- these stories to life, capturing the Because of the elevated level of adapted by the general market and tive creative director, has the vision of angst and tension of walking away creativity behind some Hispanic also by Europe (Italy and Portugal),” ‘interacculturation.’ ‘Interaccultera- tion’ is all about the immigrant culture becoming more like the host culture as the host culture adapts to become Rodrigo Vargas more like the immigrant culture, mak- in the power of ideas. ing Conill’s creativity expandable to His prediction for the future is that “Share of Mind Leads multi cultures and other markets.” the U.S. Hispanic market will contin- To Share of Market” He says that although he has been ue its explosive growth and that the THE DIGITAL NEWSPAPER FOR BROADBAND VIDEO ADVERTISING involved in TIDE’s award-winning Latino identity will be part of the U.S. iSPOT Is Open For Business! Place your banner ad on iSPOT to reach campaigns for the U.S. Hispanic mar- culture in a few more years. the decision-makers of the broadband ket, what he finds most rewarding is Messianu’s prediction: “Mass media video advertising market. taking ideas that transcend culture will decline or be flat at best, with the Every Wednesday to create connections with people of exception of Hispanic. New media will Invest In Your Future Growth. www.shootonline.com/go/ispot multiple backgrounds. grow at a faster pace. Advertainment Get low rates, high share of mind, in 2007! “Conill’s ‘one team one dream’ is and interactive are the new core,” he } the spirit and philosophy that all Co- says. “In the case of the U.S. Hispanic nillians believe in and practice. Conill market, more and more of our work is just like a Latino family, we all work will run globally in all Spanish-speak- like one team, hand by hand to pres- ing markets. The future is bright and ent our ideas; we believe passionately this is just the beginning.”
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Take the first step in letting your imagination run wild and visit www.FilMiami.org 24 SHOOT April 27, 2007 VISUAL EFFECTS & ANIMATION
Animators, Artists Step Into Advisory Role
Continued from page 12 The agency approached Method news topics in 360 different shades Patrick Murphy, visual effects su- with a copy-intensive brief for the and having them appear as one long pervisor and Inferno/Flame artist, spot, which suggested shooting in seamless shot. and Hall choreographed the objects to Buffalo, Arizona and North Dakota. To make it more manageable for create a continuous tumbling, bounc- The catch was they needed results in the designers, Supervising TD/Ef- ing movement from beginning to end just a few weeks. fects Seth Lippman explains that of the spot. Each CGI element went The duo decided to use shoot live they split the spot into eight different up to Murphy in Inferno to see them action and stop motion to make it eas- shots. They used mental ray but also in context of the individual shot and ier to cover all the copy and be believ- wrote custom plug-ins so they could the spot as a whole. There was a lot of able and to give it a quirky tone. To manipulate the tiles in any way the back and forth to achieve a continu- complement that style, they decided designers needed to and so the ani- ous tumbling, bouncing movement to have the people appear in a papery mators could be flexible in their ap- through the entire spot. In addition pop-up book world. proach. Each different topic within to Inferno the team relied on Maya, Instead of shooting the actors the spot took a different technical mental ray and Shake. against green screen and then creat- approach. The tornado, for example, “The biggest challenges were the ing the animated background, they was a mix of rigging and particles. msnbc.com’s “Spectrum” time constraints on the job, creating shot them live-action and stop motion The custom plug-ins also made it continuity of action that communi- in front of a real house. Due to the possible to have the spectrum feel as cated the idea of these people seeing production schedule limitations, they though it was constantly changing their own rewards tumbling down the shot in front of houses in Downey Stu- colors but stick to the requirement CLASSIFIEDS To place classified ad simply email ad copy to: [email protected] stairs and taking a variety of very dif- dios in Los Angeles. Afterwards they that each panel was a specific color Your reply will contain price estimate and PDF proof of ad for your review. Print classifieds run online as FREE bonus. ferent objects and creating a continu- rotoscoped all of the people and the with no gradient on any panel. For further info/rates/deadlines go to www.shootonline.com/go/classified ous and believable action throughout moving boxes out of the scenes and “We didn’t employ any of the the spot,” Hall relates. recreated the environments in 3D traditional tricks of matte painting EMPLOYMENT with Maya. or projected textures. Every tile Animators, Artists Take “The problem with shooting you see is a specific piece of geom- Senior editor and assistants Messenger Wanted On Leading Roles against green screen is you always feel etry, and we came up with ways to Award-winning audio/video post for busy NY editorial House. Hall also points out that A52’s in- like the people don’t belong in the put these tiles on all different types house in New York expanding its Great opportunity to start at the Avid editorial division and looking for volvement in this particular project scene. But it looks like they belong to of surfaces. Sometimes the surfaces bottom & move up thru the com- Senior Editor. Strong background in came early on with the agency and this world. They don’t look compos- move like waves, sometimes there pany. Candidates must have col- director, a trend that Guava’s Catch- ited in front of it,” says Nicolas. are cars driving over the surfaces,” promo work a plus, client base a huge plus. Assistant editors and machine poole is thrilled about. He says more Like Method Studios, New York explains Lippman. lege degree & interest in editing. room positions also available. Strict The anonymous email address for and more directors are also calling animation house Charlex had a lead- Lippman notes that this was a confidentiality guaranteed. Please them in at the storyboard stage. ing role in msnbc.com’s first brand- huge collaborative effort. Sungtae send resume and cover note to: candidates is “We’re definitely considered to be in ing campaign since its inception. The Will Kim, art director, Anthony [email protected] more of an advisory role than in the creative team from SS+K, New York, Tabtong, animation director, and [email protected] past. We’re very happy that effects showed them a colored spectrum in DRIVER, New York, producer have become such a vital part of pro- print and wanted to know how to il- Becky Reagan were integral to the News Reporter/Features Writer - Full-time, based Hollywood, CA duction,” he says. lustrate the journey and multiple per- success of the spot. SHOOT seeks talented journalist to cover cinematography and post technology for twice- monthly print issues, weekly email newsletters and website. Experience covering commercial In the case of a recent animated spectives of news and entertainment Speaking of collaboration, Gua- production, fi lmmaking, broadband advertising a plus. Must work successfully under deadline spot for PODS Moving and Storage that consumers could explore on the va’s Catchpoole points out that like pressure and generate story ideas. Will regularly attend industry events. Required: Journalism degree, excellent writing, editing, and computer skills with minimum 2 years staff writer/editor Company out of WestWayne, Method site. “From the get go we were pitch- directors, crews are understanding experience. Please submit detailed resume/salary history with published writing samples. No Studios, Santa Monica, was certainly ing them ideas of how to express that,” effects are an integral part of the phone calls. Advertising / Classifi ed / Online Sales, based Westport, CT vital to production—VFX artist Cedric recalls Richard Eng, creative director. process now. “Every project, people SHOOT seeks motivated creative salesperson to sell print/online advertising and online adver- Nicolas and CG creative director Lau- The resulting spot called “Spec- who are used to dealing with live tising. Must be highly computer literate with professional outgoing personality to handle high rent Ledru actually helmed the work. trum” showcases a color spectrum of actors and elements are learning volume of outgoing telephone sales calls. Minimum one year telemarketing or media sales expe- rience. Base + High commission. Please submit detailed resume/salary history. No phone calls. “The gap between visual effects panels moving in a wavelike motion more about what we do and what Interns and directing is getting smaller and that comes alive with animations to we need. We’re better at dealing SHOOT seeks graphic, business, photographic, and journalism interns to assist with researching smaller. There are a lot of spots out illustrate the breadth of content and content ideas, digitizing videos/converting photos, creating sales material, planning/executing with them and they’re better at events. Computer, Graphics and web skills required. No phone calls please. there that rely so much on visual ef- multimedia on the site. The techni- dealing with us and at the end of Great opportunity to be part of an entrepreneurial growth company with good medical benefi ts fects and also there is less time and cal challenge was creating the sea of the day everything is much more and 401K. SHOOT, a DCA Business Media Publication, is an equal opportunity employer. less money to achieve things,” says panels—there were 750,000 to work efficient, not to mention friendlier,” Reply at www.shootonline.com/go/jobs Nicolas. with—representing eight different affirms Baxter. MISCELLANEOUS DOES YOUR SHOOT MAILING Scouting For Spot Music Talent A MUST HAVE! LABEL ON THIS ISSUE’S FRONT 2007 ENCORE DIRECTORY COVER SAY RENEW ? Continued from page 19 They already have a roster of Film/Video Industry South of LA! IF SO, THEN GO TO: Rock on independent bands and are seek- OVER 180 RESOURCE CATEGORIES Longstanding New York-based ing out music acts and performers Spiral bound with 8 division tabs www.SHOOTonline.com/go/ Crushing Music has teamed with on both coasts, in the Midwest and www.OCencoredirectory.com renew industry vet Tom Mooney—who in London. Among the bands al- recently launched Mooney Market- ready in place are Salt & Samovar POSTPRODUCTION SERVICES ing, New York—to form a division and The X’s as well as singer/writer specializing in offering independent Luke Schurman. Levine believes rock bands and performers to the their talent will translate well into ad agency community not only for the ad discipline in terms of licens- spots but also emerging forms of en- What We Call The News ing their material for spots and tertainment content. last month’s South By Southwest branded content as well as for the Mooney and Crushing Music (SXSW) Festival in Austin, Texas, to writing of original compositions president Joey Levine went to scout prospective talent. and songs. April 27, 2007 SHOOT 24 News
Grant Hill has been promoted to global production director of DDB Worldwide Communications Group. He formerly served as executive production director of DDB Chicago. In his new role, Hill will report directly to DDB Worldwide chairman/chief creative offi cer Bob Scarpelli and serve as a resource to DDB’s entire network to help ensure that the agency’s production capabilities in all media are world class....Editor Oscar Rivas has landed on Earth2Mars, New York. He comes over from Crispin Porter + Bogusky where he was a senior editor....Lynn Weatherly has been named director of broadcast at MARC USA, Pittsburgh. Weatherly has freelanced with MARC USA and other agencies across the country for the past four years. Prior to that, she was group creative director/principal of Houston-based Taylor Speier Group. Her agency experience includes broadcast production at GSD&M, Austin....Alex Kemp has joined HUM Music, Santa Monica, as associate creative director. An established freelance composer for TV, Kemp also has major ties to the indie rock scene as a composer, producer, engineer and performer (with his band Assassins, signed to Arista in 2003)....
New York-based 89 Editorial and Headlight Design + Visual Eff ects have signed Andrea Marcucci of Agent 99 for exclusive representation on the East Coast....Indepen- dent fi rm boardlicious has taken on spot representation out West (except Colorado) for Dallas-based Sugar Film Production....Seattle-headquartered creative resources company Corbis has hired several new business development managers: Chicago-based Jennifer Giles who most recently was a director’s rep for independent fi rm Marguerite Juliusson & Associ- ates; Los Angeles-based Paula Arnett, formerly an exec producer at audio post group L.A. Studios, New York-based Laura Coones and London’s Lucy Charlesworth....Jamie Stevens has joined the sales force of Chicago-based rep fi rm The Candy Store, headed by Jim Deloye. Stevens’ background includes having served as a production manager at Anonymous Content....Cinematographer Michael Mieke has joined Endeavor, Beverly Hills, for commercial and feature rep- resentation....Production designer Rob Pearson is now available for spot, music video and feature fi lm assignments through Innovative Artists, Santa Monica, after completing Firefl ies in the Garden, star- ring Julia Roberts....Orlando Management, Sherman Oaks, Calif., has signed production designer Jesse Bruce Benson—who’s experienced in spots and music videos—for exclusive representation....
>May 10-12/Miami, FL: Clio Festival. www.clioawards.com >May 16/Los Angeles, CA: MVPA Awards. www.mvpa.com >May 17/Chicago, IL: AICE Awards. www.aice2007awards. org >May 23/New York, NY: SHOOT New Directors Showcase. www.shootonline.com/go/showcase >June 5/New York, NY: AICP Show. www.aicp.com >June 7/Chicago, IL: HD Expo event and SHOOT panel. www.hdexpo.net >June 12-14/New York, NY: Promax. www.promax.tv >June 17-23/Cannes, France: Cannes Lions Intl. Advertising Festival. www.canneslions.com
25 SHOOT April 27, 2007 AFCI Locations Tradeshow Generates Discussion
Continued from page 7 prove helpful in this regard for the Floor walking Walea Constantinau of the Honolu- of Sticks + Stones Productions, lo- cent of qualifying production costs commercialmaking initiative. At Meanwhile the Locations Trade- lu Film Office noted that in the first cated in Los Angeles. on newly generated business (the the same time, the film office itself show drew in excess of 4,000 to six months of Hawaii’s incentives The South American contin- amount of expenditure increase could ideally use additional staff to the Santa Monica Civic Audito- program, some $83 million of pro- gent at Locations also reported in- from one year to the next). help administer the spot incentives rium, which featured an exhibit duction activity has been attracted creased spot filming, particularly Jeff Begun of payroll and indus- and handle the paperwork. While floor of film commissions and re- to the Islands—and that’s not count- from the U.S. This was reflected try services company Axium noted the AICP had proposed that such lated services worldwide. Exhibitor ing the first feature to be drawn in the recently released findings of that applying properly for incen- help be budgeted for the state film feedback was generally favorable in, Forgetting Sarah Marshall via the annual AICP survey of produc- tives calls for extensive planning in commission, that allocation was not regarding the quality of attendees Apatow Productions and Universal. tion companies—conducted by an advance on the part of production included in the final legislation. this year, including location scouts Constantinau related that this $80 independent research firm—which companies. He related that some In the big picture, Kaufman and producers spanning features, million-plus in revenue came to the saw Latin America account for houses may find it necessary to hire thinks that a program tailored to TV, commercials, branded content state at an incentives cost of less some 28 percent of AICP member people to keep on top of the paper- the spot production business is a and music videos. than $2 million. Hawaii’s best year shoot days in foreign countries work and procedures. major step forward. She said that al- Incentives were prevalent among in terms of filming-related revenue during 2005. That’s up from 12 Indeed documenting growth in though commercial producers were the offerings from film commissions was 2004 with some $163 million percent in ’02. production expenditures from one disappointed to see the New York as was increased industry infrastruc- worth of direct expenditures in the On a somber note, several vet- year to the next in New York in State production incentives legis- ture. For example, New Mexico has state. Thanks to the new incen- eran commissioners mourned and order to qualify for the aforemen- lation of a couple years ago cover an ambitious incentives package in tives, the first half of the current remembered the late Bill MacCal- tioned growth credit can be a de- only theatrical features and TV place—which covers feature, TV and fiscal year is on pace to exceed that lum, an AFCI founding father and tailed, complicated task. Kaufman programs, in retrospect the exclu- commercials—backed by Albuquer- record-setting tally. the director of the Arizona Film acknowledged that but added that sion of spots was probably for the que Studios, a recently opened ma- New incentives for which com- Office for some 20-plus years. the film office has experience work- best. She noted that feature/TV in- jor complex replete with stages and mercials are eligible have also MacCallum played a key role ing with production studio CFOs centive language isn’t applicable to numerous resources. In fact word emerged in assorted other locales, in establishing not only the Lo- on New York’s already well estab- commercials on various fronts, cit- is that Clairmont Camera, a noted including Michigan and Washing- cations Tradeshow but also the lished feature/TV incentives pack- ing as an example the requirement camera rental house well versed in ton State. AFCI’s annual educational/infor- age to make sure they are handling of stage filming in New York for a serving the commercials commu- The latter just fielded its first mational/networking Cineposium the paperwork properly. She rea- movie or TV show in order for a nity, is coming to the complex. incentives application from the ad event. (See separate story on page soned that the film office can again shoot to be eligible for incentives. AFCI board VP of marketing biz, for a Lipitor commercial out 6 in this week’s issue.)
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April 27, 2007 SHOOT 26