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SHOOT Digital PDF Version, April 2016, Volume 57, Number 2 www.SHOOTonline.com April 2016 Up-And-Coming Directors 21 Photo by Howard Wise/courtesy of DGA of Wise/courtesy Howard by Photo DIRECTORS Spring 2016 Profiles of (top left, clockwise) Tricia Brock, the Daniels duo, Alejandro G. Iñárritu, Matthew Heineman, the Russo brothers, Andreas Nilsson and Sophie Muller. 6 4 Chat Room: Rob Griffin 4 Cinematographers & Cameras 18 SXSW: Directors 14 SHOOT’S 6TH ANNUAL & 14TH ANNUAL COMING MAY 26 TO THE DGA THEATRE NYC FREE TICKET REGISTRATION NOW OPEN See Details Page 31 F65 F55 F5 FS7 α7R II FS5 α7S II With you every step of the way At Sony, we’re committed to providing every level of production with the best possible creative tools. That’s why all these cameras deliver the phenomenal exposure latitude and color gamut of Sony’s proprietary image sensors. Plus the power of our image processors, the efficiency of our codecs, clever ergonomics and a choice of Sony’s lenses optimized for moving pictures. From the full-frame 4K of theα 7S II to the 8K capability of the F65, we bring the science. You bring the art. Meet them all at sony.com/4Kandbeyond or stop by NAB Exhibit C11001. Beyond Definition © 2016 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony and the Sony logo are trademarks of Sony. Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production April 2016 By Robert Goldrich Volume 57 • Number 2 spot.com.mentary www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Awards Recognition Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor With this year’s Oscars tion with a rejuvenated Meet the Com- Guild. This year Pytka became the first Robert Goldrich 323.445.6818 [email protected] and Guild awards be- mercial Nominees panel discussion, mov- spotmaker to receive the DGA’s Lifetime hind us—and the AICP ing the venue from Theater 2 to Theater Achievement Award for Distinguished ADVERTISING Digital & Print Rates & Information Show, Cannes Lions 1 at the DGA headquarters in L.A., ac- Achievement in Television Direction. [email protected] and Emmys looming ahead—we are in an commodating a larger audience and the The Meet the Commercial Nominees 203.227.1699 ext. 13 www.shootonline.com/go/advertise interim stretch which allows for some re- screening of all this year’s nominated spot session was moderated by director Da- Advertising Production flection on the awards season. work on the Guild’s marquee cinema vid Cornell of Committee LA. This time Gerald Giannone [email protected] And strangely it’s not the gala award screen. Also for the first time, a montage around, four of the five nominated com- 203.227.1699 ext. 12 shows that stand out for me but rather a of entries from some 50 directors for this mercial directors were on hand for the OFFICES less heralded event Main Office 256 Post Road East #206 that took place two The creation of a DGA Award commerials category was a mile- Westport, CT 06880 USA evenings prior to the 203.227.1699 Fax: 203.227.2787 stone breakthrough for spot filmmaking. DGA Awards cer- West 323.445.6818 emony—the Guild’s Meet the Commercial year’s DGA commercials competition was panel discussion: Andreas Nilsson of Bis- Circulation Nominees session. showcased for the industry gathering, cuit Filmworks, Juan Cabral of MJZ, Tom 203.227.1699 ext 12 [email protected] I remember back in 1979 when the providing a taste of the high caliber work Kuntz of MJZ, and Miles Jay of Smuggler. Editorial Production Manager/Custom Reprints Michael Morgera Directors Guild of America opened up that was done in 2015. Not in attendance was nominee Steve 203.227.1699 ext. 11 [email protected] its awards to the ad industry with the cre- Another highlight of that evening Rogers of Biscuit. SHOOT Publicity Wire 203.227.1699 ext12 [email protected] ation of a commercials category. It was a didn’t materialize because director Joe In our Spring Directors Series, SHOOT milestone breakthrough in terms of rec- Pytka couldn’t appear as planned due profiles three of this year’s DGA Award © 2016 DCA Business Media LLC. All rights reserved. ognition for the art of spot filmmaking, to a shoot. Nonetheless the reason for winners: Nilsson, Alejandro G. Iñárritu SHOOT and SHOOTonline are registered U.S. trademarks. No part of this publication may be reproduced, stored in any with Rob Lieberman winning the inau- Pytka’s originally scheduled participation who took the feature honor for The Rev- retrieval system, or transmitted, in any form or by any means, gural award. also underscored how commercialmak- enant, and Matthew Heineman who won electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Now the DGA stepped up its recogni- ing’s stature has grown in the eyes of the for the documentary Cartel Land. Print Issues Subscription Service [email protected] POV By Anthony Magliocco SHOOT (ISSN# 1055-9825) printed edition is published bimonthly for members by DCA Business Media LLC, 256 Post Road East, #206, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 “Make Goods”—What About Web Ads? USPS (06-234) SHOOT ePubs If you know something viewers are dropping out of your pro- tory Compliance requirements for Closed The SHOOT >e.dition weekly ePub is published on about broadcast adver- gram, how will you tell why? Hardly any- Captions are always a possibility. What Friday. The SHOOT Dailies are published daily Mon.-Fri. Brand New[s] weekly ePub is published Wednesdays. tising, you know the one would imagine the program was well, are you doing to make sure your content SHOOT Screenwork published Mondays. www.shootonline.com/subscribe term “Make Good.” It boring, and people just tuned out. Maybe is streamed properly to your viewers and simply means if your commercial did not there was something wrong with the feed. that you are getting a proper return on SHOOTmobile air properly or not at all, you are due a If you are responsible for live video your advertising dollars? Get the latest. Anytime. Anywhere. Any Location. Get SHOOT & SPW News texts on your Smart- “Make Good.” A Make Good could be ful- streaming distribution, advertising dollars A new service that performs real-time phone by texting follow SHOOTonline to 40404 filled by the local station or the network. or any part of the food chain, you will want analysis of live streams was recently in U.S. Make goods are provided in the same to understand if your viewers are getting launched by Venera Technologies (www. SHOOT is printed in the U.S.A. program or program of equal viewer or the program and your commercials. veneratech.com). The early results are im- demographic value, However, what about In the broadcast TV world, you could pressive. If successful, this new tool could ads on the Internet? If something goes hire service companies to monitor the go a long way toward ensuring that adver- wrong with your web ad, will you get an local affiliates. How does that work in tisers get what they pay for. SHOOT is a member of: equivalent Make Good? Who is watching the Internet world. The Internet is ev- Anthony Magliocco (anthony@em- out for your advertising dollars? erywhere. The TV networks would find tminfo.com) is the founder of Entertain- Between the source and the viewer, out if their feed died at the local station ment and Media Technology Marketing. there are many devices and layers. Er- because people would call in. Whom will He’s held general management, sales and rors can happen at any point in the chain. Internet viewers call? Simply put as your marketing management positions for lead- Find SHOOT online at: www.SHOOTonline.com Those errors could affect the Quality Of content moves out across the Internet, ing suppliers of technology for the enter- or at: the Experience (QOE) for the viewers. Er- things can go very wrong. tainment and media industry. He serves as rors could include loss of audio or video, A poor QOE might cause your view- secretary/treasurer of SMPTE Hollywood, closed caption missing, frozen picture, ers to give up on the stream, and even is an active member of several HPA com- blocky video, green or black screen. If worse fines for not meeting the Regula- mittees and was a TV Academy governor. April 2016 SHOOT 3 CHAT ROOM Rob Griffin Head of newly formed Almighty(X) seeks ad agency transparency in relationships with brand clients By Robert Goldrich strategy spans 20-plus years, most recently focused on developing Boston-based digital agency Almighty has launched Almighty(X), a dynamic creative optimization solutions that tapped into augment- division dedicated to advising advertisers on media buying and plan- ed and virtual reality for brands such as Kit and Ace, Dish Network, ning in the wake of what it contends is a lack of transparency relative Safelite, and Choice Hotels. Griffin believes that the traditional agency to certain services and technology consultation that agencies pro- model is ripe for change and he is dedicated to helping clients take vide to brands. ownership of their data, technology, and media. He sees Almighty(X) Named to head Almighty(X) while also serving as chief innovation as a vehicle for that progressive shift. officer of Almighty is Rob Griffin, who comes over from Havas Media With more control over data and technology, brand clients will be Group’s global network where he was EVP, media futures and innova- better able, said Griffin, to quickly and astutely adapt to disruptive in- tion.
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