SHOOT Digital PDF Version, June 20, 2008, Volume 49, Number 12

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Gatorade Viral Director Brown Comes Straight Wings It For Out Of Left Field, Washington Hits Homer Lottery, Publicis page 10 page 11

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION June 20, 2008 $6.00

Cinematographers Series: An Artful Threesome Hire Calling Noted DPs Ellen Kuras and Flor Col- A Site For Sore Eyes For New lins, and tabletop director/cameraman Jerry Simpson discuss experimenta- Tomaleche.com Underscores Evolution Of Hispanic Market tion and collaboration. Kuras’ latest Models collaborators include directors Sam WEST HOLLYWOOD—As so-called Mendes and Nicolai Fuglsig, Collins By Robert Goldrich new media evolve, so too is there a talks of his rapport with director An- LOS ANGELES—While the Califor- need to rethink compensation mod- drew Douglas, and Simpson’s team- nia Milk Processor Board’s (CMPB) els. This has been chronicled by mate is the Phantom HD camera. “got milk?” commercials out of SHOOT in recent years, perhaps most See page 13 Goodby, Silverstein & Partners, San notably reflected in the efforts of the Francisco, have attained deservedly AICP.next committee as prospects are Incubator Hatches New high profile industry status over being explored for diversifying be- EP, Directorial Addition many years, the work being done on yond the conventional work-for-hire Director Tom De Cerchio’s produc- the Hispanic side for that same cli- scenario to one in which production tion house has brought exec produc- ent only began gaining momentum houses hold equity stakes in content er Oliver Fuselier and director Lance in 2005. That’s when Long Beach, under certain circumstances. Kelleher on board. Fuselier comes Calif.-based agency Grupo Gallegos The subject of new compensation over from the Dektor Film Group landed the account and decided to models came up again last week dur- while Kelleher was last at Saville Pro- create campaigns more in line with ing a panel discussion at the OnHol- ductions. The move marks a couple the light-hearted tone and special lywood confab in West Hollywood. reunions for Fuselier who’s worked brand of humor that Goodby had Panelist Doug Scott, senior partner with both Kelleher and De Cerchio been so successful with. and president of Ogilvy Entertain- See page 4 While the Grupo Gallegos work ment, cited the agency’s successful Director Gil Junger Finds clearly targeted the Hispanic mar- Dove short film “Evolution” which ket and was distinctly different took on a digital life of its own, won Himself Cast As Villain creatively from the Goodby fare, Grand Prix honors in both the Film Primetime TV series helmer Gil there was a consistency in brand and Cyber competitions of last year’s Junger—with credits that include the personality across the English and Cannes Lions International Advertis- lauded Ellen episode in which the Spanish-language divide. SHOOT ing Fest, and even earned coveted ex- lead character portrayed by Ellen De- chronicled that notable Grupo Gal- posure on The Oprah Winfrey Show. Generes comes out of the closet—has legos work such as the package of Co-directed by Ogilvy, Toronto signed with production house Villains comedy spots in 2006 in which the associate group creative director/art for exclusive U.S. spot representation. positive effects of milk on certain director/copywriter Tim Piper and His Ellen episode earned nominations communities and families were www.tomaleche.com Yael Staav (who was with the now for an Emmy as well as a Directors showcased. Among them were the cal flexibility thanks to milk, and carry heavy objects all over the city. shuttered Reginald Pike, Toronto, Guild of America Award. ads “Amazing Contortionist” fea- “Teeth” in which milk has strength- The campaign tagline was “Toma at the time, and has since joined Soft See page 4 turing a family of circus perform- ened people’s choppers to the point Leche” (“Drink Milk”). Citizen, Toronto, and Furlined, Santa ers who exhibit amazing anatomi- where they can chomp down and Continued on page 8 Monica, for stateside representation), “Evolution” opens on a pretty young Eyes Of Texas Are On Continued on page 7 Filming Incentives The Lone Star State Assesses Impact On Spots, Infrastructure You Don’t Have To Be A Superhero To Score A Big Break See page 17 By Robert Goldrich the next step could be a TV show. Idol, 24, Party of Five, The Simpsons piring filmmakers from 95 countries, WEST HOLLYWOOD, Calif.—Up- The path to Axe’s and Gibbon’s and The X-Files. yielding 80-plus hours of content. and-coming filmmakers Lawrence big break was Filmaka (www.filmaka. Formally launched just a couple of Among the entries that caught the Axe and Robbie Gibbon directed a com), a digital entertainment studio months ago, Filmaka has solicited en- collective eye of the Filmaka profes- short titled You Don’t Have To Be and online creative community found- tries from undiscovered filmmakers sionals was You Don’t Have To Be A A Superhero To Work Here But It ed by noted film producer Deepak around the world through a variety Superhero..., which tells the tongue- Helps!!! and have elicited interest Nayer (Bend It Like Beckham, Buena of competitions that are juried by in- in-cheek story of a business venture in turning it into a television series. Vista Social Club) and headed by for- dustry leaders. During about a year of which connects super heroes with Funding, albeit relatively modest, has mer FOX Television Entertainment beta testing prior to its official startup, disasters as they’re happening. This been secured to produce five short Group chairman Sandy Grushow who Filmaka established an active online communications center helps to dis- webisodes and if they perform well, had a hand in such hits as American community of more than 3,600 as- Continued on page 5 23A75<33A75<3AA75AA75<5 !2D4F!2!!22

&1=; Perspectives

spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Economics 101 June 20, 2008 Volume 49 • Number 12 As reported in last early ‘09 as production hopefully re- The ad biz will has cast an inter- ating the next commercials contract www.SHOOTonline.com week’s SHOOT turns to previous levels—unless there’s ested eye on how the SAG/AFTRA this year.

EDITORIAL e.dition, the three- a Screen Actors Guild (SAG) strike. relationship evolves. Keep in mind There’s been nary a whisper of Publisher & Editorial Director month Writers Guild of America At press time, SAG was in talks that the two-year extension to the what that joint study has yielded thus Roberta Griefer 203.227.1699 ext. 13 [email protected] (WGA) strike against the television/ with the Alliance of Motion Picture commercials contract for actors is far. Whether no news is good news or feature studios exacted a heavy toll and Television Producers (AMPTP) set to expire at the end of October. if that silence is ominous depends on Editor Robert Goldrich on the California economy—at a time on a new features/TV contract. The It remains to be seen what bearing, whether you view the proverbial glass 323.960.8035 ext. 6681 [email protected] when our country’s economy was al- current SAG features/TV pact expires if any, AFTRA’s split from SAG on as being half full or half empty.

Contributors ready, and continues to be, besieged on June 30. the primetime TV contract front will While one of civilization’s failings Christine Champagne by rising fuel, food and Millie Takaki healthcare costs. Our sincere hope is that labor and managment will learn a lesson from ADVERTISING According to a Milken recent history...We cannot afford another industry strike. Sales Director, East/Midwest/Canada/Latin America Robert Alvarado Institute study, the WGA 203.227.1699 ext. 15 [email protected] strike, which ended four months ago, Meanwhile the American Federa- have on prospects for reaching an has been to let bad history repeat itself

Sales Director, West Coast/International will cause a net loss this year of nearly tion of Television and Radio Artists agreement with the ad industry. through the ages, our sincere hope is Meridith Riley 38,000 jobs tied directly and indi- (AFTRA), which split from SAG to The commercials contract exten- that labor and management will learn 323.960-8035 ext. 6685 [email protected] rectly to the entertainment industry. conduct its own collective bargaining sion was agreed upon by the advertis- a lesson from recent history, namely Advertising Production Though the WGA strike concluded in sessions with the AMPTP, has reached ing industry, SAG and AFTRA. The the heavy losses in jobs and revenue Gerald Giannone 203.227.1699 ext. 12 [email protected] February, many of those crew people an agreement on a new features/TV two years have and are being used resulting from the WGA strike. We who lost their jobs have not yet been contract. However, at press time, SAG to conduct a joint study exploring cannot afford any more prolonged Classified hired back as TV/feature studios was asking those of its members who alternative compensation models for labor unrest. So consider it our wish 203.227.1699 ext. 12 [email protected] scaled back production. are also in AFTRA’s rank and file to performers spanning traditional spots that cooler heads prevail, that both SHOOTonline Directory Listings The Milken research estimates that vote against ratification of that AF- as well as nontraditional ad fare span- sides of the negotiations keep the 203.227.1699. ext. 14 [email protected] lost wages in California will amount TRA/AMPTP contract, contending ning a growing array of new media. greater good in mind and work in OFFICES Main Offi ce to some $2.3 billion in ‘08 due to the that it undermines actors getting the The results of that study are to be cooperative give-and-take fashion to 21 Charles Street #203 strike. These losses will diminish by best possible feature/TV deal. used to form the basis for renegoti- arrive at fair deals. Westport, CT 06880 USA 203.227.1699 Fax: 203.227.2787 West POVs 650 N. Bronson Avenue, Suite B140 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036 By Robert Goldrich

Circulation 203.227.1699 ext 12 [email protected] User-Generated Content

Editorial Production Manager/Reprints/Article Rights Michael Morgera While there’s been well documented of HIRO Media, said it all boils down tracted high viewership on the web, ternet, gaining the ability to target con- 203.227.1699 ext. 11 [email protected] advertiser trepidation regarding the to providing consumers with the particularly from those who aren’t sumers,” said Golan. This will facilitate © 2008 DCA Business Media LLC. All rights reserved. No part of this publication may be reproduced, stored in any prospect of sponsoring or for that ads they prefer to view. The biggest HBO subscribers but want to check advertisers and marketers making an retrieval system, or transmitted, in any form or by any means, matter even being in close proximity knock against web ads, he related, out the show. easier transition to the web. electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. to user-generated content (UGC) on is that they’re not relevant. Another Professional content, continued Addante observed that direct re- To Subscribe Go To the web, several panelists at the re- drawback is having to see the same Golan, could present a best-of-both- sponse advertisers are more attuned www.shootonline.com/go/subscribe cently concluded OnHollywood con- ad repeatedly. While the first time worlds scenario to advertisers. With to the online arena in that their orien- For Subscription Service Inquires Call: ference in West Hollywood feel that might be okay, the 15th time can start this longer form professional fare, the tation is to target the appropriate con- 1.847.763.9620 UGC is starting to make headway in to alienate viewers, he said. :15 and :30-second spot formats can sumers. By contrast, brand marketers If your mailing label says RENEW, then go to www.SHOOTonline.com/go/renew advertising/marketing circles. Addante observed that pre-roll, translate to the Internet, he contend- tend to look at the aggregate and now and complete our online renewal form today. Frank Addante, founder/CEO of on- post-roll and interstitial type adver- ed. “You’re combining the traditional need to also take individual targeted

SHOOT (ISSN# 1055-9825) printed edition is published bi- line firm The Rubicon Project, related tising are hardly inspiring solutions. format with the interactivity of the In- users into account. weekly except in July and August when published monthly) that while there might be concern at He questioned why the decades-old for $125.00 per year by DCA Business Media LLC, at 21 Charles Street, Westport, CT 06880. Printed periodicals times over the political correctness of model for television, reflected in postage paid at Westport, CT and at additional mailing offices. Flash Back POSTMASTER: Send address changes to SHOOT, P.O. Box UGC, the bottom line is that “adver- these bland video ad options, is being 2142, Skokie, IL 60076-9505. tisers follow the eyeballs. They don’t applied to the Internet. “We shouldn’t June 20, 2003 Jerry Sukys has joined Swietlik Editorial, Santa USPS (06-234) have a choice....If Coke’s not there [in take the old television default stan- Monica, as executive producer. Until recently, he had served as senior For SHOOT custom reprints please contact Michael UGC], Pepsi will be.” dard that isn’t working that well any- exec producer for now defunct Palomar Pictures....Larry Chernoff , Morgera 203.227.1699 ext. 11 or email to: mmorgera@ chairman of Santa Monica-headquartered Ascent Media Creative Ser- shootonline.com Amir Ashkenazi, CEO of Adap.tv, more and then try to apply it to a new concurred. “Six months from now, platform. That doesn’t make sense.” vices Group, has kicked off his Larry Chernoff & Associates Post-Pro- SHOOT >e.dition published weekly except in January, July, August, and December when three-times per more and more advertisers will feel Other opportunities, like product duction Consulting, Los Angeles. Chernoff was founder of post houses month. more comfortable with UGC as a me- placement, need to be more meaning- Encore Hollywood and R!OT Santa Monica, and co-founder of editorial SHOOT is produced in the U.S.A. dium. It’s here to stay.” fully explored online, said Addante company FilmCore, Santa Monica and San Francisco....Exec producer SHOOT is a member of However, Ashkenazi noted that who affirmed that targeting and cus- Mark Egmon has launched Outer Radius, a Chicago-based branded advertiser experimentation is increas- tomized technology can help to make entertainment development and production company. ing on the Internet generally, and ads more relevant to viewers. that choices aren’t confined to UGC While he sees UGC as being vi- June 19, 1998 Procter & Gamble has wrapped another technological- or NBC. He said there are many vi- able, Golan envisions more of a move ly groundbreaking commercial as the country moves closer to HDTV able sites and forms of content that toward professional content on the broadcasting. “Mountain Spring,” a :15 for Mountain Spring Fragrance help to target audiences. Advertisers Internet. He noted, for instance, that Tide, was created entirely in high defi nition, and directed and shot and agencies are seeing the prudence The Daily Show (broadcast on Come- by John Alonzo for Saatchi New York....Director Kevin Kerslake has of investing dollars to experiment in dy Central) is one of the most popular changed the affi liation for his boutique shop from MJZ to The End.... these waters. properties online. In the same vein, Freelance producer Rick Fishbein has launched fi sh bone fi lm.... Ronny Golan, co-founder/co-CEO the HBO series Entourage has at- 2 SHOOT June 20, 2008 The shape of things to come July 17 | 6.30 - 9.00pm | Santa Monica

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IncubatorPEOPLE & PROJECTS Hatches Expansion, Adds Kelleher, Fuselier

By Robert Goldrich commercials in the early 1990s. A Collaborative ties later became executive producer for Both Nitro and Reactor were in the SANTA MONICA—Incubator, the breakthrough campaign he directed Executive producer Fuselier has the first time in his career at the for- Stoney Road family of companies production house launched in 2002 for BMW put him on the advertising a track record with Kelleher and mer Nitro Films where De Cerchio headed by commercialmaking en- by director Tom De Cerchio, has industry map. De Cerchio, having freelanced pro- was the mainstay director. trepreneur Michael Romersa. Fuse- brought executive producer Oliver Kelleher’s helming credits over the duced for both directors. Fuselier Fuselier has since held exec pro- lier has also produced over the years Fuselier and director Lance Kelle- years include spots for such clients first met De Cerchio at bicoastal/ ducer positions at Reactor Films, for such noted directors as Mike her on board. The latter comes over as Cadillac, Lexus, Seiko, Cisco, Re- international HSI Productions and Santa Monica, Rhythm & Hues, Los Mills, Kinka Usher, David Fincher to the Santa Monica-headquartered nault, Mazda, Castrol, Orange, Sony line produced for him there. Fuselier Angeles, and the Dektor studio. and Simon West. shop from Saville Productions, Bev- PlayStation and Nutrigrain Cereal. erly Hills, where he spent the past Kelleher has won a host of top awards year. Fuselier was formerly executive at Cannes, the Clios, Mezzominuto Junger Diversifi es Into Spots Via Villains producer at Dektor Film Group, Hol- d’oro, Epica, Mobius and EuroBest, lywood, which he joined in 2007. among other competitions. BEVERLY HILLS—Director Gil Jung- 10 Things I Hate About You, which several months took notice of Jung- Among Kelleher’s recent notable Earlier in his career, Kelleher di- er, known for his work in episodic TV starred the late Heath Ledger. er’s acumen not only with talent and endeavors is a package of Yellow rected via bicoastal/international and the feature film arena, has signed Junger first met Villains founder comedy but with the myriad film and with Beverly Hills-based Villains for John Marshall a dozen years ago. At TV execs overseeing the project. “He EP Oliver Fuselier exclusive U.S. spot representation. On the time, Junger was directing a wide saw me juggling 19 creative opinions the primetime series front, Junger was variety of TV projects ranging from with aplomb and felt I’d be perfect for (pictured) reunites with nominated for an Emmy and a Direc- sitcoms to dramatic episodics. “John commercials,” laughed Junger. dirs. Tom De Cerchio tors Guild of America (DGA) Award asked why I didn’t do commercials,” The more he thought about it, the on the strength of his episode of Ellen recalled Junger. “It was a good ques- more Junger was intrigued. “I love to and Lance Kelleher in which the lead character, played tion, I was just too busy with TV to tell stories,” he related. “The sitcom by Ellen DeGeneres, came out of the really think about it.” formula doesn’t always allow for that, Tail wine spots for Cramer Krasselt Partizan and the since closed Ritts/ closet to reveal that she is gay. Recently veteran producer Wil- which is why I experimented with Hampel Stefanides, New York. Born Hayden. Prior to the aforementioned Among the director’s other series liam Green posed the same query. episodics and features. The opportu- in New Zealand, Kelleher began his Saville Productions, he was at Los An- credits are episodes of such shows Junger was directing GS: Get Bruce nity to work in the spot format and career as an editor in London where geles-headquartered Form where he as According to Jim, 8 Simple Rules... and Lloyd, a TV companion piece to influence people utilizing a comedic he developed an in-depth knowledge wrapped a global Heineken campaign For Dating My Teenage Daughter the new Get Smart feature starring message is very appealing to me.” of the postproduction process before promotionally tied to the 2007 Rugby and Dharma & Greg. Junger broke Steve Carell. Green was on board as A longtime photographer, Junger he started directing music videos and World Cup. into features with the Disney film a producer, and over the course of Continued on page 7 Charles Day And Chris Tardio 89 Editorial Names Gail Return To The Industry Butler Its West Coast EP

Launch Consultancy Firm Under Familiar Lookinglass Moniker SANTA MONICA—Bicoastal 89 Edi- AICE’s New York chapter and a VP torial has hired Gail Butler to serve for AICE International. Butler cur- NEW YORK—Charles Day and a commitment to preserve con- as executive producer in its Santa rently serves as a board member for Chris Tardio—the husband- fi dentiality for their clients and Monica office. She has been part of the AICE’s Los Angeles chapter. and-wife team who formed edi- thus Day and Tardio declined the spot post industry for more than a Of her new roost, Butler related, torial house The Lookinglass to publicly identify those fi rms decade and most recently was a senior “Initially, it was the talent and body Company, Chicago, in 1995 and to which they’ve thus far pro- producer at The White- of work that attracted me then created a groundbreaking vided consultancy services. house, Santa Monica. to 89, but once I met the international editorial compa- In broad strokes, said Day, During her tenure at entire team, it made my ny via a merger in ‘01 with The the nature of their consulting The Whitehouse (which decision to join a very Whitehouse, London, branch- work to date has entailed long- also maintains offices in easy one....I’m very much ing out with offi ces on both range planning for company London, New York and looking forward to rep- coasts—have returned to the owners who are often focused Chicago), Butler worked resenting our editors on industry, launching The Look- on day-to-day business de- with such brands as both coasts and collabo- inglass Consultancy. Charles Day and Chris Tardio mands, off ering counsel to es- Nike, Coca-Cola, Miller, rating with Bob in bring- Day and Tardio stepped forms and opportunities. tablished businesses regarding Motorola, Land Rover, ing clients a creatively re- down from their CEO and “Doing that on an informal the formation of new divisions Visa, Nissan, Dunkin’ warding experience with COO roles, respectively, at The basis made us realize how much and/or ventures, and building Donuts, Lexus, NAS- each and every project.” Whitehouse in ‘05, and went on we had learned over the years upon and complementing ex- CAR and UPS, as Gail Butler Butler began her ca- to pursue several personal and and the depth and breadth of isting company operations to well as assorted agencies, including reer at Red Car in Southern California professional goals. Day, for ex- knowledge we could bring to best capitalize on an evolving Wieden+Kennedy, BBDO, TBWA\ and subsequently moved up the ranks ample, fi nished his fi rst novel bear,” related Day. industry landscape. Chiat\Day and Team One. there to producer before leaving in and the duo became heavily This led, said Tardio, to their On the latter score, oppor- Butler will head up 89’s Santa Mon- 2004. In addition to spotwork, Gail involved in the development of decision to make the consul- tunities to diversify beyond ica operation, working closely with the has postproduced several music vid- PAWS/Chicago, a not-for-profi t tancy a formal enterprise with conventional work-for-hire edit house’s New York-based execu- eos for various artists, including Au- animal rescue organization. an announced rollout back in propositions to holding eq- tive producer Bob Cagliero who cited dioslave, Kanye West, Gnarls Barkley But the industry beckoned February. During a relatively uity stakes in new content and her business acumen, strong industry and My Chemical Romance. to them, fi rst as they casually brief stretch since then, Look- product have been explored. relationships and the experience of Founded in ‘94, 89 Editorial has of- helped friends with business inglass has already served cli- “We cannot predict what working with a multi-office company fices in Santa Monica and New York. plans, providing counsel in ents ranging from production the shakeout will be and ex- and managing a talented roster. The company, along with sister brand such areas as prospective ex- houses to visual eff ects studios, actly how business models will Both Cagliero and Butler have Headlight Design + Visual Effects, pansion and how to best adapt to graphic design and digital develop as the marketplace strong ties to the Association of Inde- provides everything from rough-cut to a changing marketplace with media companies. Central to changes, but we can help com- pendent Creative Editors. Cagliero re- editorial through completion for TV the emergence of new plat- Lookinglass’ company policy is Continued on page 21 cently served as AICE Awards Show spots, music videos, emerging media, chairman and is president of the feature and long-format clientele. 4 SHOOT June 20, 2008 Filmaka Brings New “Superhero” Talent To Industry Marketplace

Continued from page 1 High Life or Miller Genuine Draft. ownership and exec producer fees. “We’ve proven in a short time,” in turn gain career opportunities via patch caped crusaders to dire strait Furthermore Filmaka is initiating Winning filmmakers generally can said Grushow, “that it’s possible to Filmaka’s connections. In describing situations. This nerve center, manned other branded entertainment com- receive a 50 percent revenue split on create a business based on a competi- Filmaka, Grushow related, “We’re not by a somewhat nerdy chap, makes it petitions that commission films for sold content, as well as compensation tion engine.” He added that this best- an entertainment destination, we’re possible for heroes to indeed come to brands, studios and networks look- to create another short or project, of-all-worlds venture spans global tal- hyper syndicators....We’re a digital en- the rescue and save the day. ing to integrate themselves into film while others receive contracts for web ent, new ideas and low costs. And this tertainment studio bringing new tal- Speaking at last week’s OnHolly- shorts that may also result in back-end series production and distribution. unproven yet deserving talent can ent and ideas into the marketplace.” wood conference in West Hollywood, Grushow said he and his colleagues saw the potential to develop the co- medic short into something much more. They put up $10,000 in funding for five short episodes, screened the original short for and generated inter- est from The William Morris Agency and put the development wheels in motion which could lead to the birth of an episodic TV series. Grushow related that it’s impera- tive to bring new talent into an evolv- ing content marketplace in that hun- gry filmmakers are needed who can work within budgets more in line with today’s economic reality. The former FOX exec affirmed that the industry needs to depart from the “Hollywood lazy Susan of fat and hap- py development deals....In an age of fragmentation, you are no longer able to aggregate eyeballs to justify more production expenditures.” Thus for just a $10,000 investment, continued Grushow, Filmaka has in the works a viable, potentially suc- cessful series idea as conceived and helmed by Axe and Gibbon. The Fil- maka business model, said Grushow, is based simply on the fact that “the need for high quality, low cost content for new and traditional distribution platforms has never been greater.” Features, branded fare Filmaka also conducted its first an- nual feature film competition which was won by Nuru Rimington-Mkali on the strength of his short, And I Refuse to Forget. The 21-year-old Rimington- Mkali was awarded the opportunity to direct his first feature, which Filmaka will produce. Meanwhile on the branded en- tertainment front, the entry period recently concluded for a Filmaka competition instituted at the behest of brewing company SAB Miller. As- piring writers and directors submit- ted their original concepts for shorts based on the SAB Miller theme, “Be- cause Life Is What You Pour Into It.” Fifteen filmmaker finalists will re- ceive $1,500 each to turn their ideas into one to three-minute short films for SAB Miller. Final submissions will be reviewed by SAB Miller executives and Filmaka jury members. The five winners of the competition will re- ceive $5,000 apiece and might have their films used as online or mobile advertising fare for one of SAB Mill- er’s brands such as Miller Lite, Miller June 20, 2008 SHOOT 5 News

Free Market Films Launches Waif & Stray Short Takes NEW YORK—Waif & Stray, a sister love the work that’s being done right JELLISON GIVES CHICKEN THE BRUSH OFF company of Manhattan-headquar- now on so many different platforms. A man is committing a rite of summer, firing up the barbecue in tered Free Market Films, has opened It takes what I’ve been doing for the his backyard. But this conventional slice of life takes an uncon- its doors for business. Free Market past fifteen years—the graphic design, ventional turn as a chicken sitting barbecue side talks to the man president/executive producer Beth the emerging media, the production who’s going to cook him. Kinder serves in the same dual role at and film—and brings it all together. The chicken himself has a Waif & Stray, a visual marketing and It’s all about telling the unique and wandering eye as he checks communications company that will compelling story of a brand—the right out a good looking woman pursue commercials as well as proj- message, the right moment and the attending the backyard par- ects beyond the traditional :30 broad- right medium.” ty. He asks the guy if he can cast spot. The new venture maintains Meanwhile Kennedy made his first set up a date for him with a core directorial roster which con- directorial mark in music videos. His the gal. sists of Jeff Kennedy and David Wein- filmography includes more than 100 “I don’t think so,” responds stock, the latter gaining inclusion into David Weinstock clips for the likes of Tyra Banks, Snoop the man who brushes the #,)#+(%2%4/6)%730/4 SHOOT’s New Directors Showcase tor of design for McCann, he jumped Dogg, Busta Rhymes, Lauryn Hill and chicken with marinade. last month. at a chance to direct a “making of” Paul McCartney. This led to Kennedy A slogan appears on screen which reads, “Your meat isn’t going Weinstock has traveled a some- documentary for the Snorri Brothers diversifying into commercials for to cook itself,” accompanied by the logo for the store chain Bar- what circuitous route to the director’s while they were shooting a Mercedes such clients as Maybelline, Pantene, beques Galore and its website address (bbqgalore.com). chair. Before directing, Weinstock campaign. Since then he has helmed a L’Oreal, and Calvin Klein. He is cur- Titled “Chicken,” this spot was one of two in an offbeat comedic spent his formative years as an ex- spot for Sony as well as spec commer- rently directing a multi-platform ad package directed by David Jellison of Santa Monica-based TWC ecutive-level designer and art director cials for Toyota, Agent Provocateur campaign for Garnier products. for Y&R Brands, Los Angeles. on the agency side. He launched his Lingerie and 21st Century Insurance. Kinder observed that Waif & Stray The agency creative team consisted of executive VP/exec cre- career in New York as an advertising Last year, Weinstock took top honors represents a business model that ative director Anthony Dibiase, creative directors Miles Turpin creative, landing an internship with with this spec fare out of the Group101 places importance on understanding and Heather Stiteler, associate creative directors Theresa Menz, graphic design icon Tibor Kalman at career development program (now “the intentions of the client—not just Jeff Heath and Brian Morgan, executive producer Chris Coleman M&Co. From there, he went on to lead Spot Lab), receiving a Getty Images the demographic they want to reach and producer Amanda Menke. design departments at several N.Y. ad contract and a New Directors Grant. but the places where they would like Mark Thomas, Jeff Snyder and Steve Ross exec produced for TWC, agencies, including McCann Erickson, “Projects are becoming media-ag- to start a dialogue with consumers. with John Mullins serving as producer. The DP was Sean O’Dea. Wells BDDP, and Margeotes, Fertitta nostic, which means we have dozens It’s about having a structure open and Rick Lazzerini of The Character Shop was puppet designer and & Partners, as well as Minneapolis of new ways—in addition to traditional flexible enough to work using the operator. Editor was Tad Fatum of Cut+Run, Santa Monica. shop Campbell Mithun. While at his spots—to deliver our message. That’s client’s budget to create smart, cost- Effects house was Liquid Images, Santa Monica. last agency post as senior VP, direc- what drives me,” said Weinstock. “I effective branding.” NYPA BESTOWS PHIL DIXON AWARDS ARTISANS In recognition of significant contributions to the success of the New York State and City production communities, the New York A Massive Move For EP Scott Cymbala Production Alliance (NYPA) last week bestowed its Phil Dixon Award upon several honorees: Alan Suna, CEO, and Stuart Suna, LOS ANGELES—MassiveMusic, with taking a position at Tom Johnston house tomandandy as general manag- president of SilverCup Studios; Paul Moore, Eastern exec director bases in Amsterdam and New York, Artist Management, where he repre- er, later rising through the executive of the Motion Picture Editors Guild and past NYPA co-chair; and has opened a full-service music stu- sented Buffalo Tom, Bettie Seevert, ranks from general manager to direc- Terry Lawler, exec director of NY Women in Film and Television. dio in Los Angeles under the aegis Come, and Bullet Lavolta. Relocating tor of national sales and ultimately se- The award is named after Dixon, an NYPA founder. of managing partner/exec producer to L.A., Cymbala became music re- nior VP, new business development, These individuals have honored Phil Dixon’s legacy “with their Scott Cymbala, who had last been views editor for music/lifestyle maga- at the aforementioned music, sound untiring and unselfish support of the New York production indus- with bicoastal Elias Arts where he zine BIKINI. He co-founded both the and identity company Elias. try, “ said NYPA executive director John Johnston. “Stuart, Alan, served as senior VP, new business boutique, bicoastal Damaged God’s Cymbala said that the Los Angeles Paul and Terry have committed their time and talent individually development. The launch of a West office of MassiveMusic will draw on and through their organizations, to work through NYPA with state Coast office reflects Massive’s stepped- his pool of talent and resources, as and city government to help maintain New York’s competitive edge up commitment to the U.S. market. well as those of the New York and as a location for the film, TV and commercial production industry.” Also joining the Los Angeles studio Amsterdam outposts. “The West “2008 marks the tenth anniversary of the formation of the New is creative director/lead composer Coast has some of the best creative York Production Alliance,” Johnston noted. “Over the past decade Vincenzo LoRusso whose work spans in the industry—Apple, Infiniti, Micro- we have seen a remarkable turnaround in the amount of produc- commercials, records, TV and feature soft, Nike, adidas, and so on,” he not- tion attracted to New York City and State. We are proud to have films. He has collaborated with mem- ed. “MassiveMusic comes to L.A. with played a role in helping to make that happen.” bers of Cypress Hill, Velvet Revolver, an ambitious agenda and tremendous and Korn, among others, and com- resources worldwide.” PEOPLE IN THE NEWS posed and mixed national TV com- Massive managing partner and Chris Wiggins has returned to Fallon Minneapolis as a creative di- mercials for clients including Nike, executive producer Keith Haluska rector. His first tour of duty at the agency began in 1998 when he Microsoft, and Lexus. His work on related, “In the past when thinking joined Fallon Interactive and “American River” (Universal/Decca) about opening a West Coast office, I was part of the team respon- was recognized with a Grammy nomi- Scott Cymbala thought that I needed someone like sible for the groundbreaking nation for best new age album. His Management (which represented Su- Scott Cymbala because he has such BMW Films. He became cre- recent credits include production on perdrag of Elektra Records and Lifer a good eye for talent. I wanted him ative director for Fallon Inter- the score/soundtrack for A Guide of Interscope Records), and Finger- scanning the talent on the West Coast active in ‘03. Two years later he To Recognizing Your Saints, starring paint Records, an indie label which re- for us. When he became available, became creative director for Robert Downey, Jr. and Shia Labeouf, leased recording projects from Beck, calling him was a reflex.” Zaaz, Seattle. He then moved and Fox’s film release Pathfinder. Radar Bros., Lifter and Holiday Flyer, Headed by founder Hans Brouwer, back to Minneapolis to be- Cymbala earned a Bachelor’s de- among others. Cymbala also served managing partner/creative director Chris Wiggins come a founding member of gree in mass communication and a as label manager for Thrive Records, Kerry Smith and Haluska, Massive interactive shop Zeus Jones....Boston-headquartered Viewpont minor in communication studies from specializing in electronic music. maintains a network of more than 50 Creative has added executive producer Diana De Vries to its Los Emerson College, Boston. Locally, he Segueing into the spot arena, Cym- composers. The shop’s clients include Angeles office.... worked as a DJ at WERS-FM before bala joined bicoastal music/sound adidas, Volvo, Nike and Volkswagen.  SHOOT June 20, 2008 HD Essentials New Compensation Models Needed

Continued from page 1 ed for example that while 30 percent woman sitting in front of a camera of audience eyeballs are on the Inter- D.C. Goes HD With New Team in a studio. Makeup is applied to her net, only six percent of advertiser me- Washington, D.C.-based production and post facility TEAM Sound & Vi- face, helping to significantly change dia expenditures are on the web. The sion, has launched TEAM Studio. The new venture, a 30’ x 50’ studio fully her appearance. But the real transfor- Internet, he concluded, “is an under equipped for HD and SD, provides the region with an expertly support- mation occurs after a photo retoucher leveraged medium.” ed, cost-eff ective solution for a wide range of media production needs. gets his hands on the woman’s face, Part of catching up is letting go and TEAM Studio is billed as being ideal for political campaigns requir- changing everything from her jaw letting audiences get involved with ing a fast-response resource, as well as broadcast, corporate and web line to the size of her eyes, even the brands, observed Mexercast CEO Jen- programming producers. The studio is in the same building as TEAM’s length of her neck. By the time we nifer Cooper. She cited as an example 21,000 square foot post facility and is designed to accommodate news see the gal’s photo on a billboard, she a Levi’s Dockers initiative in which programs, interviews, CEO/corporate presentations, discussion round- looks nothing like she did at the start. viewers were invited to create Dock- tables and much more. It’s a startling sight which showcases Doug Scott ers commercials, helping to define the The studio features three Sony HD/SD cameras with Canon lenses, the concocted, fabricated notion of that compensation models and other brand. Some 12,000 people created and is adjacent to a fully outfi tted control room ready to take the studio beauty in today’s society. aspects of the marketplace need to spots, which were viewed by around live for network broadcasts or satellite media tours, or switched pro- Part of Dove’s “Real Beauty” cam- catch up with an ever changing and 1.5 million on websites and virally. gramming “live to tape.” Following image capture, TEAM’s post group paign, “Evolution” promoted the evolving media reality “The brand becomes personal,” can composite green screen shots or polish the program. Content can brand’s Self-Esteem fund supporting Panel moderator Bill Cleary, said Cooper, when consumers get the also be immediately encoded for uploading to a corporate website or charitable organizations that help founder/managing partner of brand chance to create for it. to stream live. build young girls’ self-esteem. building firm Cleary & Partners, not- --By Robert Goldrich TEAM’s audio designers can add the right music, sweeten and mix, Scott noted that the 74-second while their staff organizes all deliverables. short was produced for $80,000 and “TEAM Studio is a facility that skillfully supports the needs of political went on to generate millions of down- New Villain: Gil Junger groups, as well as corporate and multimedia producers looking for an loads and an estimated $150 million aff ordable solution to enhance their media off erings,” said Peter Davis of worth of free media time as it was Continued from page 4 number of houses, including Villains TEAM Sound & Vision. “It was built with both broadcast and broadband shown and discussed on assorted TV is also interested in visual work. “I’d where the director met and imme- deliverables in mind. programs. Yet Ogilvy’s compensation love to have the opportunity to work diately felt simpatico with executive “In addition, TEAM’s comprehensive postproduction off erings make was based on the $80,000 expen- with some of the great DPs in com- producer Nancy Osborne. us an extremely valuable resource for our studio clients. We can easily diture, which, said Scott, raises the mercials and put my vision on the This laid the groundwork for his look ahead and take design, and video/audio post elements into con- question of equitable recompense, screen. This medium is ideal for con- joining the Villains roster which is sideration before the shoot, making for a seamless process from begin- including the prospect of intellectual tinually developing new techniques comprised of directors Mona El Man- ning to end, with everything under one roof if desired.” property ownership when it comes to and skills.” souri, Hennegan Brothers, David The studio was designed and constructed to meet the high standards certain creative content. Green, who produces spots for Johnson, Lemon, Erik Moe, Basil of Peabody Award-winning news and public aff airs content provider Indeed, a prevalent theme of the several companies on a freelance ba- Schlegel, Erick Ifergan, Mattias Schut, Channel One Network. OnHollywood panel session was sis, set up meetings for Junger with a and Theresa Wingert. hdstudios Provides Skeleton Crew hdstudios recently provided The Skeleton Factory with high defi ni- tion cameras, sound stage rental, online postproduction, visual eff ects WE SEE YOUR WORK and audio post for the Milford-based fi lm company’s latest feature, Born of Earth. The Farmington Hills, Mich.-based hdstudios is a division of Grace & Wild, Inc. The Skeleton Factory began principal photography of the feature in October 2007, and the project was shot entirely in southeastern Michi- gan with HD cameras and equipment rented from the hdstudios rental group, IN GEAR. The cast included actors Daniel Baldwin, Brad Dourif Congratulations For Being Selected and James Russo. Robert Kurtzman’s Precinct 13 Entertainment pro- The Best Work You May Never See. vided special makeup eff ects and creature design, and Detroit Power & Light supplied a grip and electric lighting package and expendables. Color Grading by Micah Kirz Additionally, the cast and crew spent a day shooting the Born of Earth Using New York’s First and Finest alien creatures against a green screen on hdstudios’ B-Stage. Born of Earth is the ninth feature to be produced by husband-and- da Vinci wife team Todd and Tommy Brunswick, and their second feature to be completed at hdstudios. hdstudios’ contributors included B-Stage manager Joe Corbeill; se- nior editor Peter O’Neill, assistant editor Brad Kirsch; audio engineers Spencer Hall and Chris Chartier; music director/audio assistant Evan CLIENT: TURKEY HILL DAIRY Geller and audio assistant Bryan Berry. Brand: Iced Tea Spot Title: Refrigerator Consumers Gearing Up Break Date: 6/23/08 Agency: Pavone A study has found that more than during the 2007-’08 holiday and Telecine Company: MI Post Super Bowl season, more than 5.5 million household purchased an Colorist: Micah Kirz HDTV set for the fi rst time. This means that approximately 25 percent Production Company: Working Stiff Commercial Production of U.S. households now own at least one HD set. Additionally 3 million- Director: Matt Pittroff plus home added a second hi-def TV prior to this year’s Super Bowl. Executive Producer: Steve Blair This translates into some 10 million U.S. households now having two or Director of Photography: Andy Lilien more HDTV sets.... **** ÓÓÇÊ °Ê{x/Ê-/, /ÊUÊÈ/Ê"", Your world with da vinci 9 Ê£ää£ÇÊUÊÓ£Ó°™xΰș™™ RESOLVE • 2K PLUS • SPLICE • REVIVAL Contact SHOOT’s Robert Goldrich with HD-related developments and news www.mipost.com at [email protected] or (323) 960-8035. [email protected] WWW.DAVSYS.COM

June 20, 2008 SHOOT 7 AGENCY CREATIVE/HISPANIC ADVERTISING

Grupo Gallegos Launches Spanish Language Website For CMPB

Continued from page 1 fear among the townspeople. The ad schoolers and school-age children. ish-speaking audiences will enjoy and The next year, SHOOT covered ends with a tagline stressing one of In the story titled “Duendes” learn from.” three more “Toma Leche” spots, in- milk’s key health benefits: “The cal- (“Elves”), children learn that by drink- Oubiña noted new recipes, new re- cluding “Dream Town” and “Laughs.” cium in milk reduces PMS symptoms. ing milk everyday, they too could search about milk’s benefits, ongoing The former took us to fantasy land Toma Leche.” grow up to be tall and strong, just like news of events and more children’s where people get whatever luxury/ the elves have done in the tale. And stories are in the offing for the site, sports cars they desire, there are nu- Discrepancy in the story “Medusa,” the legendary meaning that there will be a consis- merous lottery winners, and a man Yet for all this stellar work, some- Greek mythology figure—who turns tent flow of fresh content to help en- has an eye on the back of his head so thing was amiss as there was a glaring men into stones with her gaze—is sure that visitors return. that he can be attentive to wife and inconsistency online for the CMPB. transformed into a beautiful princess He added that at press time Grupo baby in the foreground while watch- The “Toma Leche” campaign and with strong nails and teeth, and soft, Gallegos was working on an ambi- ing sports on TV in the background— its health initiatives were housed on lovely hair—thanks to milk. tious online campaign to help drive in short, everybody’s dream comes www.gotmilk.com, where informa- Juan Oubiña traffic to the site. true. In the last scenario, we see a teen tion was translated from English to legos made milk an integral perform- Client POV And for those who speak Spanglish, boy drinking a glass of milk before go- Spanish. There was a mainstream er on the site. Upon entering www.to- CMPB executive director Steve there are cross links between gotmilk. ing to bed. That’s because milk helps English site with no Spanish-language maleche.com, visitors are introduced James explained, “Families have of- com and tomaleche.com. everyone get a good night’s sleep and counterpart—until late last month. On to the world of the milk man who ten told us how difficult it is to find The Grupo Gallegos creative team the better you sleep, the better you May 28, to further engage Latinos not makes his rounds delivering milk information and stories written in on tomaleche.com consisted of Ou- dream. As he nods off, we see four only on TV but online, the CMPB throughout the city. His stops include their native tongue. We want to take biña, copywriter Edgar Hernandez, young, hot-looking, swimsuit-clad launched its first-ever Spanish-lan- varied animated worlds—the town advantage of the new website to bring art director Paula Oliosi, interactive women singing him a lullaby in his guage website, www.tomaleche.com, school where online users can learn Latino families together with these director Sebastian Djain, product bedroom—ah, sweet dreams. created by Grupo Gallegos. about milk’s health benefits for strong children’s stories, while still introduc- manager Veronica Chijner and de- “Laughs” puts us on an island “The decision was made a year ago bones, teeth and muscles; a restaurant ing them, especially kids, to the health velopers Marcelo Abosch, Juan Casas where all the inhabitants are laugh- to have a website in Spanish, not just where recipes can be accessed; and benefits of drinking milk.” and Violeta Ignatti. ing no matter what the circumstance. a translation,” related Juan Oubiña, even a movie theater to view past Of the decision to launch www. “As a creative, the new site is very A woman chuckles uncontrollably creative director of Grupo Gallegos. and present “Toma Leche” TV spots. tomaleche.com, James simply said, gratifying because it reflects the im- during childbirth, people at a funeral “I think this reflects the fact that the The site’s animated worlds were cre- “It’s time. Because the Hispanic portance of not only the Hispanic laugh while standing around a casket. Hispanic advertising and marketing ated and produced by London-based population in states like California is market but also the importance of the Two vehicles collide, an accident that sector has progressed significantly. studio Pesky with Claire Underwood constantly changing and growing, we Internet to the Hispanic market,” ob- causes both drivers to laugh. On this It’s a major step and we’re proud to be serving as chief animator. Hanrahan, want to have a website that speaks the served Oubiña. “My hope is that this island, milk is essential because it not a part of this breakthrough.” also in London, was the live-action language and the culture of many La- sparks more creative endeavors on- only gives you a sunny disposition Oubiña identified a couple of prime production house. tinos. This is a website we hope Span- line by other agencies and clients.” but also healthy teeth, which you can creative challenges—one, fashioning a flash while laughing. site that had a long-term life. “We Fabled work Then in early ‘08, Grupo Gallegos didn’t want to tie the site entirely to While the milk man is a centerpiece gave us its “Leyendas” (“Legends) our current campaign because that that isn’t tied directly to the current campaign centering on fables with could change in a year or a little fur- “Toma Leche” TV campaign, another spots such as “Elfo” (“Elf”) and “Bru- ther down the road. In that case, your site element is linked specifically to the ja” (“Witch”). In “Bruja,” for instance, site is only good for a year and needs a aforementioned “Leyendas” or fables we see a broom-riding witch chasing major overhaul. Our goal was to have package. There are Spanish-language off frightened children and turning elements that could be updated and children’s stories—illustrated by noted them into pigs. Legend has it that advanced, with the site designed to artist Evgeni Tomov—on and exclu- scaring the townspeople is a monthly have a life of at least five years.” sively written for the site. This offers ritual for the witch. But during this The other main challenge, he con- an element whereby moms can con- particular trip, she decides to drink a tinued, was making sure that the site nect with their kids. Parents can print glass of milk. The witch’s demeanor appeals to and is relevant to mothers out the stories with a home printer then magically transforms, causing of young children. and the illustrations are designed in her to spread good deeds instead of Towards both ends, Grupo Gal- coloring book format to engage pre- Site cites a key benefit of drinking milk: a good night’s sleep.

8 SHOOT June 20, 2008

Top Spot of the Week Baker Smith Snags A Foul Ball For Gatorade And Element 79 Partners By Christine Champagne SHOOT sought an interview with trajectory of the ball, and the artisans ally sells it. It really feels like she has Has anyone emailed you a link to that the creative team from Element 79 at New York’s Framestore CFC later scaled the wall even from the alterna- awesome footage of the ball girl mak- responsible for conceptualizing “Ball inserted a ball in post. tive, slo-motion angle.” ing a stunning catch in foul territory Girl,” but as of press time, the agency Paul Martinez and Charlie John- during a minor league baseball game had not gained permission from its Golden glove ston of Lost Planet, Santa Monica, cut between the Fresno Grizzlies and the client PepsiCo to speak about the As for how the ball girl (played by “Ball Girl,” which, appropriately, ends Tacoma Rainiers? thinking behind the viral. As you stuntwoman Phoenix Brown) made abruptly. Smith noted that someone The video has been making the may recall, PepsiCo pulled creative the spectacular catch that is the high- taping this game at home and then rounds on the Internet and likely duties on Gatorade from Element 79 light of the video, she got a little help posting it online likely wouldn’t have fooling a lot of people, but what we this past April, awarding the account from rigs and Framestore CFC. the tools to do a fade out, so the sud- are seeing is, in fact, to TBWA\Chiat\Day, Smith and his crew shot the big den end made sense. Furthermore, it staged. It is actually a Los Angeles. Element catch right after the game they were added to the pulled-from-TV quality viral video for Gato- 79 had handled Gato- shooting concluded, attaching the of the video. rade titled “Ball Girl” rade for six years. ball girl to wires and having two stunt Reflecting on the job, Smith re- that was created by Smith was able to men off to the side literally yanking marked, “It’s funny. Having done this Chicago’s Element 79 discuss the production her up the wall. from twenty years, it’s gone from the Partners and directed end of the project, of “It was so low-tech,” Smith said of ultimate compliment to a director be- by Baker Smith of har- course, explaining that the stunt. “We had her run, and she ing, ‘That’s so cinematic’ to it being, vest, Santa Monica. he and DP Eric Treml would jump, and they just gave her a ‘Hey, that looks kind of crappy like a In a cluttered envi- shot “Ball Girl” on lo- little extra oomph. It was really very, viral video!’ “ ronment full of viral cation during and after very simple.” work that isn’t really an actual game be- That said, there was choreography viral (too many agen- Baker Smith tween the aforemen- involved. Smith had marks for the top cies are just slapping TV commercials tioned Fresno Grizzlies and Tacoma ball girl to hit. up on YouTube these days and ex- Rainiers that took place in Fresno. “We were trying to have her emu- pecting them to go viral), “Ball Girl” Essentially, they shot coverage of late those Parkour guys in France,” Spot stands out as being a true viral video, the game on HD and later pieced it Smith said, making reference to a of the week a seemingly authentic piece of com- together to look as though one of the street sport and art form that has par- pelling footage that looks like it was Grizzlies batters had whacked a ball ticipants moving about various envi- CLIENT cut right out of a real ball game. of homerun distance out past the left ronments—from apartment buildings Gatorade Meanwhile, “Ball Girl” hits a field foul line. to public parks—propelling their bod- Agency homerun for product integration. In “The big shot, the one that follows ies off of walls, stairs and railings. Element 79 Partners, Chicago Dennis Ryan, executive creative a subtle but certainly noticeable case the ball out [from the plate to left director; Doug Behm, Jon Flan- of product placement, there is a bottle field], was completely choreographed Keeping it simple nery, group creative directors; of Gatorade on the ground next to the for lack of a better word,” Smith said, “Of all the effects stuff I’ve ever Greg Oreskovich, copywriter; Da- vid Boensch, art director/creative chair the ball girl sits in after making explaining that a motion control shot done in my life, this was the biggest director; Steve Drifka, art director; her great play. followed what would have been the no-brainer as far as how to do it,” Tom Cronin, executive producer; Smith said, crediting Framestore CFC Katie Juras, producer; John Noble, with not pressuring him to go more head of production CG and hi-tech with his approach. PRODUCTION COMPANY harvest, Santa Monica “They were just fantastic,” Smith Baker Smith, director; Eric Treml, said of the visual effects shop. “They DP; Mala Vasan, producer; Bonnie are of the mind that you figure out Goldfarb, Scott Howard, execu- tive producers; Rob Sexton, head how you want to do it, then they’ll of production. Shot on location in make it look good as opposed to cer- Fresco, Calif. tain places that say, ‘You have to do EDITORIAL it this way.’ That can be a bit stifling. Lost Planet, Santa Monica But [Framestore] said, ‘Tell us how Paul Martinez, Charlie Johnston, editors; Andy Trecki, assistant edi- you want it to be, and shoot it the way tor; Christie Price, Kerri Doherty, you want, and we’ll make it work.’ “ producers; Betsy Beale, executive From a visual effects point of view, producer the job was straightforward, accord- VISUAL EFFECTS ing to Framestore executive producer Framestore CFC, New York David Hulin, VFX supervisor; James James Razzell. “The main challenge Razzall, executive producer; Mary- was rig removal for us,” Razzell said. anne Butler, senior Flame artist; As previously noted, Framestore also Talia Marash, Miyuki Shimamoto, Flame assistants; James Razzall, created an animated ball. Crowd en- executive producer hancement was also required. MOTION GRAPHICS Was Razzell disappointed that the Mo/de, Chicago job didn’t involve more CG elements? Kathleen Quinn, executive pro- “Baker’s goal and the agency’s goal ducer was for it to be something that looked AUDIO like it actually happened rather than Sound Lounge, New York it being some house of flying daggers Glen Landrum, mixer #,)#+(%2%4/6)%730/4 TALENT with her leaping forty feet in the air,” Phoenix Brown Sign that girl to a contract! Baseball scouts would drool over the miraculous catch made of a long fly ball high up against a stadium outfield wall but in Razzell said laughing. foul territory. Even more amazingly, the catch wasn’t made by an outfielder but rather a ball girl just doing her job at a minor league stadium. “I think [the realism] is what re- 10 SHOOT June 20, 2008 The Best Work You May Never See Brown Takes Flight For Washington Lotto Since the beginning of time, man has looked longingly at birds in flight and propelled by and suspended dared to dream what if he too could fly. And even now, there’s still human between two hang gliders. wonderment when gazing at a bird soaring skyward. A voiceover and an accom- But not all birds can fly and in this spot people take it upon themselves to panying super relate, “Every give a penguin, a chicken and an emu the prized gift of flight. bird should get to fly.” A tag The enterprising folks use hang gliders as their means towards that end. One appears with the Washington guy takes a penguin up into the wild blue yonder. The penguin is in a harness State Lottery logo and the right below the man in flight. In one scene, the penguin flaps its wings, seem- slogan, “Whose world could ingly in delight in mid-flight. you change?” #,)#+(%2%4/6)%730/4 The chicken (in a harness set-up similar to that of the penguin) too enjoys its Titled “Birds,” the com- ascent as does the emu. In the case of the latter, the bird is in a special harness mercial was directed by Jerry A penguin soars skyward. Brown of Sticks+Stones Studios, Los Angeles, for Publicis in the West, Seattle.

Client Washington Lottery Agency Publicis in the West, Efx challenge Seattle Dan Fietsam, Rob Rich, Parag Tembulkar, creative Brown noted that the penguin, chicken and emu didn’t actually fly in this directors; Scott Rasmussen, art director; Jeff Siegel, copy- spot. A prime challenge of the project, he said, was “how to seamlessly composite writer; Derek Ruddy, executive producer; Nannette Ray, Nicole birds with hang gliders and still make it feel spontaneous, natural and observed.” Dundas, producers. Production Sticks+Stones Studios, This meant that Brown had to capture the birds “enjoying flight” even though Los Angeles Jerry Brown, director; Marlon Staggs, executive they weren’t experiencing it. Brown and DP Tom Olgeirrson deployed camera producer; Gabrielle Yuro, producer; Jason Dennis, head of angles that “while interesting, didn’t stretch credulity,” said the director. “The production; Tom Olgeirrson, DP. Editorial Fischer Edit, Min- animal trainers worked with the birds for more than a week, suspending them in neapolis Lindy Wilson, editor Visual Effects Fischer Edit Jake harnesses and getting them used to being in their rigs. Parker, VFX supervisor/Flame artist; Bill Rogina, editorial and Jake Parker of Fischer Edit, Minneapolis, served as visual effects supervisor/ credits VFX producer. Post Pixel Farm, Minneapolis Oscar Oboza, Flame artist on the job. colorist Music Music Forever, Calabasas, Calif. Rob Simonsen, Attracting Brown to the project was its positive, uplifting spirit, focusing on composer; Anthony Marinelli, producer. the good things lottery winners can accomplish--”to show someone,” said the New nyc with pics:shoot Budapest 6/9/2008 4:41 PM Page 1 director, “doing something for someone, that they couldn’t do themselves.” EET STR RALEIGH STUDIOS K MANHATTAN BEACH YOR EW TS N SEN PRE

URBAN ROW HOUSES AND STORE FRONTS * COMMERCIALS * FEATURES * PHOTO SHOOTS 323.960.FILM June 20, 2008 SHOOT 11

CINEMATOGRAPHERS

Collaboration & Experimentation

Our DP mix this time around includes a veteran tabletop director/cameraman also touches upon people’s sense of home and identity. Kuras said she was who’s experimented extensively with the Phantom HD camera, a noted fea- drawn to the humanity in Mendes’ work. DPs Discuss Their ture and commercials cinematographer whose experience entails working with Similarly, she cited the “humanity” that Fuglsig infuses his work with, as lauded feature filmmaker Sam Mendes in both those disciplines, and a long- he did with the aforementioned “It’s Mine,” a charming tale starting with two time collaborator of director Andrew Douglas, their latest teaming being the Macy’s Thanksgiving Day Parade balloons—Underdog and Family Guy’s Stew- Relationships engaging “Journey” for Canon, a recent SHOOT Top Spot (6/6) out of Grey ie—giving chase after a Coca-Cola contour bottle balloon only to have Charlie New York. Brown unexpectedly rise up and take possession of the sought after bottle. Fuglsig directed the Coke spot for Wieden+Kennedy, Portland, Ore., with vi- With Directors, Ellen Kuras sual effects from The Mill, New York. Earlier this year, SHOOT chronicled As with Mendes, Kuras has a history the exploits of cinematographer Ellen with Fuglsig. They had teamed on the Exploring New Kuras, centering on her feature direc- ambitious Guinness’ “Tipping Point” torial debut, Nerakhoon (the Lao word domino-style-effect commercial for for Betrayal) which made its world Abbot Mead Vickers BBDO, London. Creative Areas Opremiere at the Sundance Film Festi- “Nicolai is utterly prepared,” as- val in the Documentary Competition. sessed Kuras. “He looks at a project Telling the story of a refugee family backwards, upside down, right side up, By Robert Goldrich from Laos, the film is a mesh of docu- sideways, from all angles. I knew that mentary, soulful dramatic narrative from Guinness. Nicolai wrote about a and intimate love story. At press time, 15 page treatment for the Coke com- Nerakhoon had just made its New mercial—and to see his vision for the York premiere at the Human Rights work made my job easier even though Watch International Film Festival at it was a very involved piece with visual Lincoln Center. effects and plate work. We had to deal But prompting us to now revisit with the size of the balloons and how Kuras were a couple of prime devel- they would play on the street and in opments—her lensing of the hit Super the air [including CG balloons].” Bowl spot “It’s Mine” for Coca-Cola, di- On Thanksgiving Day, Kuras was rected by Nicolai Fuglsig of MJZ, and shooting at the Macy’s Parade, finding her current lensing of The Farlanders, herself in a specially outfitted camera a comedy directed by Oscar winner car/golf cart. “It was a thrill. It was like Sam Mendes (best director in 2000 for being part of a gunner crew and we American Beauty), with a cast that includes John Krasinski, Maya Rudolph and were at the head of the parade, with a huge zoom lens on a 35mm film camera Maggie Gyllenhaal. This marks Kuras’ first time working with Mendes on a fea- [Arriflex 435],” she recalled. “The camera movement and the plates had to be ture but she’s no stranger to the director, having earlier shot a series of Allstate the same speed we wanted the balloons to move—and for Nicolai that was a slow, commercials for him. lyrical pace. We used the car not as a dolly, but more a window from one place Kuras first got to know Mendes while shooting the Michel Gondry-direct- to another, looking up at buildings, for example, and getting crowd scenes.” ed Eternal Sunshine of the Spotless Mind, which starred Kate Winslet who is Additionally the project entailed lensing from a helicopter and getting over- Mendes’ wife. Kuras and Mendes struck up a friendship and the cinematogra- head plate shots. pher found the director to be “astute and smart. As I got to know Sam, it made While actual balloons were constructed, most of the final balloons in the me want to work with him. Happily I’ve been able to, first in commercials and commercial were CG. Additional separate shoots on both coasts had Kuras now with this feature.” capturing the lyrical feel of the story, including the sense of the duel between She’s enjoyed the experience. While a comedy, The Farlanders, said Kuras, Continued on page 14 June 20, 2008 SHOOT 13 CINEMATOGRAPHERS

DPs Kuras And Collins, Dir./DP Simpson Refl ect On Their Work

Continued from page 13 Anonymous Content, the commer- ideas into pictures. So, when Andrew the balloons as people go about their cial engagingly threads a single story outlined the idea of ‘Journey,’ he daily business. In one shot, a couple is through multiple environments via wanted me to figure out the techni- arguing as a balloon brushes along the still images. Douglas consulted with cal details of capturing those images... window of the high-rise room they’re visual effects house Asylum to find what cameras to use, digital workflow, in. Actors had to interact with larger the most effective technique and etc. He’s got a great eye and I just try than life balloons that weren’t there. means to achieve the desired effect. and help him create and photograph Also Kuras had to capture a true feel At each lensing location, Douglas beautiful images/stories in the most of how balloons would move past one would stage the scene, line up a pack efficient way possible. another in pursuit of something, giv- of 10 photographers that included “People get spoiled working with ing CG artisans context and points of himself, Collins and crew members, Andrew. He’s incredibly nice guy and reference for their work. then have them simultaneously shoot very collaborative. He likes and ex- There was extensive plate shoot- Ellen Kuras the action with the Canon DSLR as it Flor Collins pects ideas from his crew. The mood ing on building tops, with Fuglsig with him anytime.” played out. Every scene was captured ing to cut together. When the director on a set comes from the top and he orchestrating exactly how he wanted from a dizzying array of angles and and agency are happy, we move on. creates a mood where we work hard the action to move and unfold—left Flor Collins depths, with a massive editing pro- Everyone’s speaking a common story- but we try to have fun. No one’s walk- to right past one building, ascending DP Flor Collins played an integral cess handled by Michael Elliot of Mad telling ‘language.’ ing around on eggshells. You see ev- past another and so on. Fuglsig was role in “Journey” which promotes River Post, New York. However, he continued, “On eryone on the crew willing to go that even conscious of the kind of rooftops Canon’s new EOS Rebel XSi and the “When I got the details of the job,” Canon, we were all learning a new extra mile, to help him achieve what he wanted to see as various vignettes camera maker’s NFL sponsorship by said Collins, “and saw the direction language as we shot. Although we he needs on a shoot.” came to life. piecing together the arc of a football that Andrew and the agency wanted had shot some tests at Asylum, to Collins has a long track record with For Kuras the key was that she play through a series of seemingly still to go, I was thinking, ‘this should be a show the idea would work, there was Douglas, dating back to 1990. “I was and Fuglsig “never lost sight of the yet moving images capturing a range really exciting, fresh commercial...if it still a leap of faith as we were shoot- living in London, having left Ireland story, the drama. All along the way of scenarios, starting with the hike in a works.’ It’s always interesting to work ing, because nobody could really say to go to film school there,” recalled Nicolai trusted my judgement and we backyard game all the way to a touch- on jobs where you have to try some- what the spot would look like, until Collins. “Back then, he [Andrew] worked closely together when things down being scored in a stadium. As thing new and work outside your Michael Elliot and the guys at Asylum was a photographer, working with were working well and in those in- the journey from amateur to pro foot- comfort zone. In commercials we’re both did their magic. his brother Stuart, as ‘The Douglas stances when they weren’t, helping ball progresses in the spot, the quality working with material usually filmed “We were getting fantastic imag- Brothers’ and they were just starting to problem solve along the way. He’s of the still photos improves, reflecting at 24 fps which translates to a shutter es,” said Collins, “and it was easy to be to do some pop videos. a great director with enormous heart. the development of a more artful eye speed of 1/48th of a second. On Can- lulled into a false sense of security and “Since then,” continued Collins, He puts a lot of himself into his com- when one works with the Rebel. on we were working at shutter speeds forget the storytelling requirements “I’ve worked on almost everything mercials, which gets back to the hu- Conceived by Grey New York of between 1/500th and 1/1,000th of of each set-up...” he’s directed, first as a focus puller, manity I was talking about. I’d work and directed by Andrew Douglas of a second, thus capturing more ‘frozen Collins credited Russ Langford and then as operator and now as DP. It’s moments’ and showing them in a dif- Brendan Pattengale from Digital Fu- a never ending learning experience ferent way than the usual high speed sion with doing “a great job of setting working with Andrew. He’s always filming we’ve done before. A fresh up an efficient on-set workflow for pushing himself, always wanting to way of looking at the world.” handling the images. After shooting a try something new. If you look at As for the project’s biggest chal- couple of takes with 10 stills cameras, his work, there’s an incredibly broad lenges, Collins related, “Initially my shooting up to 10 fps, we potentially range of material. He’s never satisfied main worries were about visualizing would have 1,000 stills frames coming with mastering a genre, he always what we had to shoot and also how back to our version of video village wants to challenge himself—which is to establish an efficient workflow, for download and review. Thanks to good, because that forces those of us to handle 10 cameras and all the im- Russ and Brendan, we were usually who work with him to expand our ages they would be producing. With able to be reviewing the first camera own boundaries.” regard to visualizing—on a regular within five minutes.” As for the Canon spot itself, Collins commercial, we’ve got storyboards, Regarding his collaborative rela- shared, “I was thrilled when I saw the we shoot a scene, we look at playback, tionship with Douglas, Collins related, final cut of ‘Journey.’ It was excitingly Coca-Cola’s “It’s Mine” everyone’s got an idea of how it’s go- “My job is to help a director to turn his fresh and a great example of what can

14 SHOOT June 20, 2008 CINEMATOGRAPHERS

happen when great creative combines established edit houses like Version2, earlier this month for a cross-section of the problem, sending the company Word of Simpson’s success with the with a great director.” Big Sky Editorial and Cut+Run, and of industry folks, sparking a dialogue stills of the issue he was confront- camera has prompted requests from post shops such as Company 3 and on this new lensing direction for the ing. The stills were sent to Romania several ad agencies to present the Jerry Simpson Nice Shoes into the mix to address industry. “I think this was a preview where Vision Research tech experts work at their offices. Screening dis- A couple of years ago, veteran and resolve any workflow dilemmas, of where spot production is heading,” are based. They redesigned the sensor plays, monitors and support resources tabletop director/cameraman Jerry including making color grading re- related Simpson, who rattled off a list board and the problem was resolved. provided by Panasonic are helping to Simpson of Simpson Films in Long sponsive and efficient. This support- of the camera’s benefits, including be- Though he doesn’t want to disclose make those screenings possible. “I’ve Island City, N.Y., called Vision Re- ed his lensing of eight spots—specs for ing able to create a new, fresh look, the tricks he’s learned, Simpson said discovered that Panasonic’s displays search about experimenting with its the Phantom’s compact profile which in broad strokes that some DPs in the and drives work extremely well with Phantom HD camera on high-end helps open up more creative avenues past have made the mistake of light- this kind of work in terms of best food and product photography. But and access for shooters, being able to ing for negative film when working showcasing it,” said Simpson. the Phantom folks said the camera see on set precisely what the camera with the camera. The key, he shared, The Phantom, he continued, has wasn’t yet ready for primetime. is recording, giving the director more is “to light for color reversal print film come a long way in just two years— A year later, though, Phantom be- time to shoot different scenes and or color reversal motion picture film from not being ready for his high-end came real—and ready for Simpson to other creative possibilities, and an in order to attain optimum perfor- work to now helping to take it to a put through its paces on tests involv- eco-friendly orientation (none of the mance from the Phantom.” fresh, new level. ing the lensing of water, berries, even toxic chemicals used in film creation liquid pouring. “The results were and development). mind blowing,” said Simpson, a self- While he continues to shoot and avowed “film guy.” appreciate 35mm film, Simpson sees This led to Simpson holding an the Phantom as a viable HD option. event for DPs last summer, showcas- Jerry Simpson He feels confident that he’s worked ing what the Phantom could do. Then McDonald’s (a total of three), Heinek- out the bugs in his rounds of ex- the director/DP decided to take that en Beer, the Omega 007 Watch and perimenting with the camera. For showcase to the next level, getting adidas; and two real-world jobs, Dan- instance, when shooting Dannon feedback from ad agencies as to their non Yogurt ad for Y&R, New York, Yogurt, Simpson felt the Phantom re- interest and concerns about the cam- and an ad promoting energy drink Jet acted strangely to the color magenta. era. He found that there was plenty Set for a creative who was indepen- “I wasn’t sure if it was the color, the of both, with some of the reluctance dently working on the account. heat or the lens,” he said, “but it was stemming from workflow logistics. These spots were screened during creating some banding.” He then brought in Iridas Software, an evening event at Simpson Films Simpson informed Vision Research Canon’s “Journey” shot by Flor Collins

June 20, 2008 SHOOT 15 SUPPORTING

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The I’s Have It While the Texas Moving Image Industry Incentive Program was signed into must be Texas residents. Incentives And law by Gov. Rick Perry in September 2007, it wasn’t until March of this year The same prerequisites also apply to theatrical features and TV programs, that the full rules for that measure were adopted. At press time, there were 120 except that for these two categories, the minimum in-state spending must be $1 total applications filed--primarily by production companies--for the five percent million (for episodic TV series, that’s $1 million per season). Infrastructure Are cash back incentive on expenditures in Texas. Bob Hudgins, director of the Furthermore, projects that complete at least 25 percent of their total pro- Texas Film Commission, estimates that the first checks will go out this month. duction days in underused areas may receive an additional 1.25 percent of total Until they do, he can only speak in broad-stroke terms about the impact of in-state spending. That extra 1.25 percent (making for a total 6.25 percent incen- Deep In The Heart the grant-based incentives. Suffice it to say that commercials represent the li- tive) applies to spending throughout Texas, not just in the underused areas. on’s share of those applications, according to Hudgins. To date there have been The so-called underused areas are defined as any part of Texas other than the 89 applications relative to spots shot in Texas, all but one filed by production metropolitan areas of Dallas and Austin. of Lone Star State houses. The applicants have been a mix of commercial production houses in Texas and from out of state. The one spot application not from a production Traction A SHOOT Staff Report company came from an advertising agency. Hudgins thinks the incentives program will attain “more traction once we WHudgins projected that thus far the incentives payout will be just over $1 mil- start to write checks.” And he envisions the most traction happening in the lion on some $20 million spent in Texas on commercials. spotmaking community. In order to qualify for the program, a commercial or package of commercials “On the film and TV side, New Mexico and Louisiana are ahead of us in must spend at least $100,000 on Texas talent and resources. Hudgins noted that terms of incentives that are five times what we offer,” said Hudgins. “But we the average thus far of the spot applications is at about $200,000 per project don’t face the same level of competition for commercials.” or package. (The minimum threshold must be met by a single commercial or Hudgins noted that commercials are perhaps the most attractive kind of film- package of commercials. The incentives measure does not recognize the cumu- ing for Texas. “The commercial industry keeps more businesses viable, keeps lative total of a production company’s projects shot in Texas over the course of more people working in the state than any other [filmmaking] sector,” he ob- a year.) served. “Commercials have a lot of resources, tap into a lot resources and thus Another requirement per commercial or package of commercials is that at create resources within the state. Commercials do the most when it comes to least 80 percent of production days must be completed in Texas. And a mini- building infrastructure. And infrastructure is essential to being competitive for mum of 70 percent of the total number of paid crew, cast and extras combined all kinds of filming business.” Game face Hudgins noted that video games also represent a burgeoning business sector for Texas, which is ranked as the country’s third largest game development state. He reported that there have been 14 applications relative to video games thus far in the incentives program, representing in-state expenditures of some Continued on page 18

Among the Lone Star State’s location treasures are (counterclockwise from top left): Big Bend National Park; Desert in Guadalupe Mountains; and Texas Red Barn in the Texas Hill country. June 20, 2008 SHOOT 17 TEXAS PRODUCTION

Issuance Of Checks To Help Incentives Gain Traction

Continued from page 17 being a huge growth area for us.” animation studios, post and audio fa- $17 million. cilities, film labs and so on. This activity, Hudgins continued, Dallas “In a lot of ways, we’re cheaper has generated 180 jobs in Texas. Janis Burklund, director of the Dal- already,” affirmed Burklund. “You “And these are full-time, longer- las Film Commission, observed that a don’t have to bring much in, all the term jobs--not the temporary em- lot of production companies are wait- resources are already here. Panavi- ployment normally associated with ing for incentive checks to be issued. sion has a major operation here [in filming,” he affirmed. “We have “I think the attitude has been to Irving, Tex.], for instance. And you companies here such as Reel FX wait and see, and once the process is have to remember there’s no state in- that have diversified significantly working, more companies will apply,” come tax. Lots of incentive programs into video games. This projects as she said. “Companies don’t want to go in other states give back their state through all the work until they know income tax. We don’t have that tax everything is running smoothly. Once to begin with. Dallas/Ft. Worth is two Bob Hudgins those initial checks are cut and the pro- cities for the price of one, and repre- comes into the state. cess is figured out, we’ll see an increase sents the fourth largest metropolitan In terms of diverse filmmaking of applications. More people will avail region in the U.S.--and the fastest disciplines, Burklund related that themselves of the incentives.” growing. Commercials, TV and fea- animation studios Janimation and While she views the incentives as tures are shot here consistently. And Reel FX in Dallas are active in TV, a major plus, Burklund noted that there’s a healthy Latin market here features, direct to video, commercials discerning feature, TV and spot pro- as we’re drawing both English and and video games. ducers should analyze their bottom Spanish-language work.” Out-of-state production houses and line when it comes to competing On the spotmaking front, Burklund agencies are also being drawn to the

©David Friedman incentives in different states and for cited such Texas production houses Lone Star State--in some cases due that matter countries. Texas and Dal- as Sugar Film Production, Directorz to not only longstanding locations las/Fort Worth are very cost effective, and Stone Core Films. The latter, she normally associated with Texas but she said, in terms of variety of loca- noted, does a heavy volume of work also new sites that are emerging, and tions and infrastructure ranging from for Hasbro, which is perhaps the larg- which will continue to surface in the Prison Break prod. Garry Brown testified in ‘07 in favor of incentives. crew talent to production houses to est commercialmaking client that coming years as assorted buildings

18 SHOOT June 20, 2008 TEXAS PRODUCTION

and attractions are in development. lensing project be it a feature, TV pro- Survey Relatively new, for example is gram or commercial. SHOOT surveyed a cross-section of AT&T’s Victory Plaza, a venue with Looking further down the time- the Texas community for its take on large mobile screens that float along- line, another prospective attractive the potential effect of the state incen- side the sides of buildings. Victory filming site includes the $2.4 billion tives as well as a rundown of recent Plaza is also a gateway to the Ameri- expansion of the Dallas Area Rapid activity. A question was posed and a can Airlines Center, a sports complex Transit (DART) system, scheduled request made. which is home to the NBA’s Dallas for completion in 2013. Ninety miles The question, request and a sam- Mavericks and the NHL’s Dallas Stars. of light-rail lines will be added to the pling of the industry feedback we re- There’s also a new Arts District and Artist’s rendering of the Calatrava Bridge system, doubling its reach. ceived follow on page 20. slated for completion in ‘09 is the Dal- las Center for the Performing Arts, a multi-venue center for music, opera, theatre and dance. Indeed future locations are already eliciting interest from the filmmaking industry and scouts. Burklund related that a commercial production house

Janis Burklund saw a rendering of the Calatrava Bridge which is being constructed across the southern sector of down- town Dallas and asked when it would be available for filming. This breath- taking span is being eyed by car shooters and figures to further boost an already robust automotive com- mercial lensing business in Texas. Projecting further down the con- struction timeline, Dallas plans for 2011 to mark the debut of Woodall Rodgers Park, a 5.2 acre urban park uniting uptown, downtown and the Dallas Arts District. The $70 million project is being compared to such projects as Centennial Olympic Park in Atlanta, Yerba Buena Park in San Francisco and Bryant Park in New York. The Woodall Rodgers Park will include an acoustical performance stage with lawn seating for up to 3,300, a dog park, a children’s garden with a playground and discovery area, and a 25-foot high glass water sculpture. And looking at the calendar in 2011, consider that by then the Dallas Cowboys new stadium in Arlington (midway between Dallas and Fort Worth) will be completed. That sta- dium will be host that year to an event that looms large in the advertising in- dustry--the Super Bowl. As for the sports complex that the Arlington facility will replace, the Cowboys current stadium in Irving, Burklund is already contemplating the filmmaking implications. Plans call for that Irving stadium to be im- ploded, an eye-popping event which could make a nice fit for the right June 20, 2008 SHOOT 19 TEXAS PRODUCTION

Industry Responds To Incentives, Updates Activity

Continued from page 19 David S. Friedman, partner, Dallas Audio Post Group, Dallas. 1) What impact has the state’s production incentives program had on the Board member and North commercialmaking business and industry infrastructure in Texas? Texas regional representative for the Texas Motion Picture 2) Provide a brief overview of the advertising-related work your company Alliance. has been involved in most recently (you can cite significant projects): Na- tional TV campaigns, regional spots, broadband video/mobile content, spon- 1. Overall, the Texas Moving sored web films, etc. Image Incentive Program gener- ated $143,096,143 in new production (spanning such areas as features, TV, commercials, games) within Texas and is making $7 million of incentive pay- Jeremy Besser, ments as of 6/3/08. Of 120 applications, 89 are commercials and the remainder executive producer, is split between feature films, TV programs, and video games. A key difference Directorz, Dallas. is that Texas offers a grant-based program in which incentive payments are in the form of cash instead of less favorable tax-based programs such as the In terms of activity, director Jeff Bednarz shot the national campaigns for Michigan program that anticipates $183 million in production and $73 million Conoco Philips, EDS, Michelob Beer, and Colonial Life. in refundable tax credits. The impact is the creation of hundreds of new jobs He also wrapped egional spots for Blue Cross Blue Shield of Alabama, Whata- that fuel the Texas economy. burger and the Mayo Clinic of Jacksonville. David Wild has shot for national campaigns for Shell Gasoline and Nick Jr. 2. Dallas Audio Post Group’s recent advertising-related work includes proj- Parents Connect as well as the regional campaigns for Baylor Hospital and Food ects such as Sony, radio spots and globally deployed in-store media displays; Lion Supermarkets. Pepsi, web site audio; Schlotzsky’s, TV spot; Plant Tan, TV and radio spots; Ar- Tom Ryan continues to shoot the food for Denny’s national TV, as well as by’s, web site audio; Pharma, TV spots; and Freddie Mac, TV and radio spots. Taco Cabana, Joes Crab Shack, Publix Supermarkets, Taco Bueno, Chic Fil A, Services include sound design, original music, voice recording, editing, ste- Zaxby’s and Captain D’s. reo and 5.1 surround mixing. Stewart Cohen has shot for Sylvan Learning Center and Publix. Continued on page 23

OUR PEOPLE. OUR LOCATIONS. Are why producers choose San Antonio.

20 SHOOT June 20, 2008

FM80018Shoot10.75x7.125.indd 1 6/17/08 3:08:29 PM News

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June 20, 2008 SHOOT 21 News

HiFi Expands, Inks Five Composers

SANTA MONICA, Calif.—HiFi Music then, Robb and Roberts, who had Gatt is a veteran of several Los An- + Sound Design, launched last fall previously worked together at Face geles-based indie bands and has also New York-headquartered CatatoniaGiraldi—a multina- by composer/creative director Paul the Music, have completed projects performed with such artists as Black tional production house formed in 2006 by director Bob Robb and executive producer Birgit for Honda, Bosch Home Appliances, Eyed Peas, Blur and Spinal Tap. He Giraldi and Catatonia Films, Mexico City, for Hispanic and Roberts, has expanded its services, Mattel and Mazda, as well as a new has scored spots for Honda, Tylenol mainstream English-language spots—has brought direc- brought in new talent and formed a branding campaign for Tylenol. and Mattel. tors Josh Marston and Sebastian Alfi e on board. Marston’s new national sales team to keep pace Sargent is a composer, multi-instru- credits include Maria Full of Grace, a feature which won the with its growing business. Composers mentalist, producer and recording en- Audience Award at the 2004 Sundance Film Festival, and The company has formed a mu- The composers coming aboard HiFi gineer. A graduate of Berklee College episodes of primetime TV series Six Feet Under for HBO Swingtown sic licensing division and tapped have music industry backgrounds of Music, he has scored spots for such and the upcoming , which is slated to debut on music supervisor and former War- and experience as songwriters and brands as Tylenol, Honda, Aetna, CBS. Alfi e is a spotmaking veteran whose credits include campaigns for Mercedes-Benz, Movistar and PlayStation ner Brothers’ A&R director Kevin composers. Pomerans is a British- Planet Waves and the NHL. He has in Spain, shoots for Coca-Cola and Sprite in Argentina and Laffey to head it. It has also added born and classically trained composer produced and engineered several al- recent stateside assignments for Crispin Porter+Bogusky, Miami and four composers, Jan Pomerans, Kev- and one of the founders of the elec- bums, including work by roots musi- Boulder, Colo., and Grupo Gallegos in Long Beach, Calif....The direc- in McCormick, Michael Gatt and tronica band Zen Cowboys. He has cians Liam Bailey and Greg Liszt. torial duo Peter Martin—Peter Livolsi and Martin Dix—has joined Brian Sargent, as well as sound de- also written music for the television O’Toole’s experience includes a bicoastal Sleeper USA for U.S. representation. Livolsi is a graduate signer and composer Owen O’Toole. shows Grey’s Anatomy, Desperate stint as program curator at public of the American Film Institute’s directing program and Dix is a writ- To handle sales, the company has Housewives and The Simpsons and for radio station KZYX where he devel- er/creative director who has worked at agencies in the U.S. as well signed with veteran rep Mary Ma- commercials promoting GMC, Ford, oped an interest in avant garde and as in his native Australia. The Peter Martin directing team, formerly tusz on the West Coast and Paul BMW and Coke. antique recordings. He is also a mem- repped by harvest, Santa Monica, was among the helmers selected Saylor in the Midwest. McCormick is a Grammy-winning ber of the experimentalist Wet Gate for SHOOT’s 2006 New Directors Showcase....Meanwhile, another HiFi is making the moves to bet- producer, songwriter and instrumental- ensemble that gives musical perfor- alumnus from that same year’s SHOOT New Directors Showcase, ter handle the volume of projects ist who has a long association with Jack- mances using 16mm movie projectors. Scott Corbett, has joined the roster of Identity, the New York shop that have been coming its way. The son Browne and has also performed His experience as a sound designer headed by owner/exec producer Joe Masi. Corbett’s past affi liations company launched informally last fall with such artists as Melissa Etheridge and composer for commercials goes include Boy Genius and the now defunct commercial division of A Band Apart. He fi rst established himself in the industry as an ad as Robb was completing an interna- and Keb Mo. He, too, has written for back more than 15 years and includes agency copywriter working on both coasts and then made a success- tional tour with Information Society, television with credits including Sex a longstanding collaboration with di- ful transition to the director’s chair.... the techno band he co-founded. Since and the City and Ally McBeal. rector Jeffery Plansker. Hootenanny Adds Graham Metzger

CHICAGO—Hootenanny, the Chica- pany, fxphd, also operates out of the go-based post boutique launched re- 5,000-square-foot office space which cently by editor Liz Tate and Smoke houses Hootenanny. Brent Novick of San Rafael, Calif.-based Novick & Associ- artist Jim Annerino, has added to Hootenanny offers SD and HD ser- ates has been named to handle West Coast representation its roster, bringing editor Graham vices in creative editorial, finishing, for Venice, Calif.-headquartered production house Back- Metzger on board. Like Tate and An- graphic design and visual effects. The yard. This adds to his roster of clients which also includes a Backyard affi liate, multi-platform production company nerino, Metzger hails from Avenue, core business focus is on commercial Transistor Studios....New York-based Sound Lounge Mu- Chicago, which was his roost for the broadcast post across all media plat- sic & Sound Design has secured Sandra Riley of indie fi rm Riley Rep- past seven years. forms, including television, the web, resents to cover the West Coast.....A3, a Los Angeles-based boutique During his tenure at Avenue, corporate video and interactive media. production company which director Patrick Kiely recently formed Metzger worked on such accounts The alluded to fxphd has emerged with directors Adam Kerscher and Allan Vajda, has lined up repre- as McDonald’s, Sears, Chase, the Big as a well known online training cen- sentation on both coasts, securing Elyse Emmer of The Emmer Group Ten Network and Berghoff Beer. Graham Metzger ter for visual effects artists, with mem- to handle the East Coast and Yvette Lubinsky of Yvette Represents for In addition to serving as an editor at I need to collaborate on a bigger proj- bers from more than 65 countries. the West Coast....DP Sebastian Pfaff enbichler has joined The Skouras Hootenanny, Metzger will take on the ect, I’ve got other artists ready to roll While they are separate companies, Agency, Santa Monica, for exclusive representation.....DP Francesco role of designer on select projects. in-house to get the job done.” Hootenanny and fxphd plan to col- “Checco” Varese is now repped at UTA, Beverly Hills, by Wayne Fit- Metzger said he’s looking forward to Metzger rounds out a Hootenanny laborate on projects to parlay the terman and Pete Franciosa for features and by Robert Arakelian for the chance “to wear multiple hats” at staff of editors that includes Tate and strengths of each business. Montgom- commercials....DP Gonzalo Amat has signed with Kristen Tolle for Hootenanny. “It’s great to bounce be- Jerem Sloan. Other key talent on the ery adds effects and design acumen to spot and music video representation at Paradigm, Beverly Hills.... tween editing and designing on a proj- creative team include Annerino and the Hootenanny arsenal. Conversely, ect, where I can react to comments in designer/visual effects artist John Hootenanny’s artisans are available to the room instantaneously. And when Montgomery. The latter’s web com- help with fxphd work as needed. Director Karl Shefelman Joins Persona >June 20-21/Los Angeles, CA: Cine Gear Expo. www. NEW YORK—Persona Films, Inc., a Departed (helmed by Oscar winner drama, Elysian Fields, was distributed cinegearexpo.com New York-based production com- Scorsese), American Gangster (di- internationally and sold to several Eu- >June 30/New York, NY: NYF International Advertising pany, has signed director Karl Shefel- rected by Scott) and The Devil Wears ropean television networks, including Awards, www.newyorkfestivals.com man for spot representation. Prada (directed by David Frankel). BBC-2 in the U.K. >July 17/Santa Monica, CA: Baselight “The Shape of Shefelman first established himself On the directorial front, Shefel- He has also directed a spec com- Things to Come” Reception. www.fi lmlight.ltd.uk/ in the industry as a storyboard artist, man’s short films have garnered ex- mercial titled “Heartless” for Crain’s santamonica working with such leading directors posure and recognition on the festival New York Business. >July 23/Los Angeles, CA: AICP Show. [email protected] as Francis Ford Coppola, Ridley Scott, circuit. His psychological thriller, Bill’s Shefelman comes aboard a Persona >July 31/Hollywood, CA: MVPA Awards. www.mvpa.com Martin Scorsese, Jonathan Demme Seat, won the best live action short roster that also consists of directors >August 11-15/Los Angeles, CA: Siggraph. www. and Barry Levinson. honor at the St. Louis International Yan Vizinberg and Abigail Honor. siggraph.org Among Shefelman’s recent proj- Film Festival. Vizinberg and Honor launched the >September 11-15/Amersterdam: IBC. www.ibc.org ects as a storyboard artist are The And Shefelman’s half-hour period company in 2001. 22 SHOOT June 20, 2008 TEXAS PRODUCTION

Texas Shops Attract Wide Range Of Spotmaking Projects

Continued from page 20 1. The tax incentives program is citement that commercials were in- Stone Core Films has worked with been airing on a national level. And 1) What impact has the state’s pro- truly in its infancy. cluded in the incentives package. We The Richards Group, Uproar, Doner many of these projects were multi- duction incentives program had on They began accepting applications were the first company to submit an and HBO as well as a number of other commercial campaigns. the commercialmaking business and during the summer of 2007 and will application and are looking forward advertising agencies. We are gearing up for another busy industry infrastructure in Texas? hopefully begin making disburse- to our first check. We have produced more than month in June, with 10 projects al- ments very soon. thirty commercials during this time ready on the books [as SHOOT went 2) Provide a brief overview of the ad- There has been a great deal of ex- 2. During the first half of 2008, period. The majority of this work has to press]. vertising-related work your company has been involved in most recently (you can cite significant projects): National TV campaigns, regional spots, broad- band video/mobile content, sponsored web films, etc.

Jason Needleman, senior VP/ general manager, Radium, Dal- las (company also maintains studios in Santa Monica and San Francisco)

1. I think it is still a little too early to say how big of an impact this program has made on commercial production in Texas. The rebates have definitely had a positive financial impact for production here, but as far as attract- ing outside production into Texas, we wish for a greater impact. One way to increase the impact is to promote awareness of the rebate to the appropriate clients to make them aware of the available funds.

2. Radium has been involved in high end visual FX, animation and design projects, including national and region- al campaigns such as Nextel, Zaxby’s, Nationwide, Lowe’s, Home Depot and Coors. We have also been involved in major campaigns, including Target’s “Global Bazaar” launch as well as the recent VictoryPlaza Photo Credit: Jeremy Woodhouse launch of Steven Spielberg’s first game for EA, “Boom Blox.”

DALLAS. TAKE TWO.

Dallas, itÕs changing a lot. You can see it in our neighborhoods, our downtown and our 13 unique entertainment districts. With $12 billion in downtown development, we are creating as many great places to shoot as there are fun things to do. For more information visit Þlmdfw.com or call 866-713-5299.

Elaine Sibert, executive producer, Stone Core Films, Dallas

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www.gw-hdstudios.com hdstudios is a division of Grace & Wild, Inc. Farmington Hills, MI