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Biscuit Director Jessen Strips Auto Body Shop Moves Into “Naked” For Humorous Orbit Syndication page 12 page 13

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION June 8, 2007 $6.00

Who? Comes Back To greatguns:usa Roost Serious Biz The directorial duo consisting of Liam In Store At Kan and Grant Hodgson shift stateside AAICPICP ShowShow representation from Go Film back to greatguns, reuniting with executive Cannes producer Tom Korsan. The move A SHOOT Staff Report gives the helming team continuity SStopperstoppers CANNES, France—Per usual, the on both sides of the Atlantic as Who? Cannes Lions International Advertis- continues to be handled by greatguns’ ing Festival will run the gamut from longstanding shop. the frivolous to the serious. However, See page 4 in previewing this year’s edition, the MMJZJZ LeadsLeads TThehe WWay,ay, FFollowedollowed BByy SSmuggler,muggler, 54th annual fest slated for June 17- Agency Producers On 23, there’s perhaps a greater sense Directorial Discoveries HHungryungry MMan,an, Moxie,Moxie, AnonymousAnonymous ContentContent of seriousness entering the proceed- Heads of production at la commu- ings, particularly as benchmarks and nidad, Miami; Ogilvy & Mather, Chi- killer apps are sought in emerging, cago; and executive producers at El- uncharted media territory. ement 79 Partners, Chicago, discuss Consider the remarks of Tom Es- their recent endeavors, new media linger, Saatchi & Saatchi’s worldwide forms, evolving roles and the impor- interactive creative director, who tance of keeping a watchful eye on will serve as president of Cannes fresh new directorial talent. Cyber Lions jury. Recently asked by SHOOT what his expectations are See page 15 relative to the competition, Eslinger Tom Cronin Checks Into related, “I want to challenge the jury to look beyond the technology and SHOOT’s Chat Room find the best, most game-changing Recently promoted to VP and lead Skittles’ “Leak” skd283046sdc Getty Images/Stockbyte ideas amongst the thousands of en- executive producer on Gatorade at tries. I want to have a focus on find- Element 79 Partners, Chicago, Tom A SHOOT Staff Report ing those ideas that marry interactiv- Cronin reflects on his dozen years NEW YORK—For the second consecutive year, bicoastal/international MJZ topped the Association of Independent ity with smart innovative technology working on the account, how this Commercial Producers (AICP) Show at the Museum of Modern Art (MoMA) in New York, this time with a total of to make real, deep connections with breakthrough brand has evolved, eight honors. Fare directed by Dante Ariola, , Rupert Sanders, and Phil Joanou led the the audience. I want to concentrate and the responsibilities his new way for MJZ at the 16th annual competition. on finding the great ideas that are re- role entails. Cronin’s ad experience The AICP Show distinction continued a banner awards season for MJZ as earlier this year Ariola won the Direc- ally changing our business—it should on Gatorade spans three agencies: tors Guild of America (DGA) Award as best commercial director of 2006, with Kuntz also nominated for the DGA be a great jury!” BBV, FCB and Element 79. honor. Additionally, Kuntz’s Skittles commercials for TBWA\Chiat\Day, New York, recently earned a Gold Pencil at Indeed the sense of purpose to See page 10 the One Show, ANDY competition Gold, three Gold Art Directors Club Cubes and three Gold Clios. Now at the uncover and discover great work AICP Show proceedings held this week (June 5) at MoMA, Skittles’ “Leak” and “Trade” each earned an honor in the seems heightened across the board Perspectives On New York Humor category. Continued on page 11 of jury heads and members, includ- Continued on page 11 Production, post and visual effects folk discuss impact of new incentives. SHOOT See page 20 Showcase Directors Exhibit Perseverance By Nicole Rivard discussion portion of the evening ner/chief creative officer at Deutsch how he befriended several agency NEW YORK—Between the time event, SHOOT editor Robert Gold- New York. The discussion followed creatives, which led to him landing Matt Helfgott was chosen to be part rich said that the career progres- a screening that featured work from the Ameriquest spot. “Whenever of SHOOT’s fifth annual New Direc- sion of current and past Showcase all 30 Showcase helmers—25 individ- I saw a good commercial on TV, I tors Showcase and his appearance directors was testament to their ual directors, a three-person team would write the agency creative and on stage at the actual event held talent and perseverance. Panelists and a directorial duo. say, ‘I really liked your work.’” May 23 at the DGA Theatre in New included several of the 2007 Show- Indeed, Helfgott, who was chosen That drive enabled him to turn York City, he was signed by Dektor case directors (including Helfgott), based on his Ameriquest “Brownie” his spec work into a real world job, Film Group, (see sepa- Bonnie Goldfarb, executive pro- spec spot, has been persistent. He told a spot for Holland’s National Job rate story in this issue). ducer/cofounder of harvest, Santa the audience about his experience Bank via the Dutch Agency Sel- Just prior to moderating the panel Monica, and Peter Nicholson, part- as a PA and with Group101Spots and Continued on page 23

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spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Showcase June 8, 2007 Volume 48 • Number 10 With this week’s sibilities is “to expose all of us, myself Profiled in our Agency Producers cases that meant us going outside the www.SHOOTonline.com wrap-up coverage included, to people who might be a Series, Laurie Malaga, director of pro- traditional community of Hispanic [ad] EDITORIAL Publisher & Editorial Director of SHOOT’s New little more specific to Gatorade, to duction at la comunidad, joined that directors.” Roberta Griefer 203.227.1699 ext 13 [email protected] Directors Showcase event at the DGA expand our resources to tap into be- Miami agency two-and-a-half years ago This translated into breakthrough Theatre in New York, appropriately we cause scheduling can be so difficult despite not speaking Spanish and never work for then relatively unknown Editor Robert Goldrich also have in this issue several notable for the right directors.” having worked before in Hispanic ad- directors like Aaron Ruehl (on Latin 323.960.8035 [email protected] ad agency artisans chiming in on the Asked what he meant by “more spe- vertising. But it was her other experi- teen music network Mundoz and Vir- Associate Editor Nicole Rivard importance of uncovering new direc- cific,” Cronin said he was referring to ence that made her a proper fit for the gin Mobile) and the Perlorian Broth- 203.227.1699 ext. 16 [email protected] torial talent. At the event itself, panel- directors who have an understanding creatively progressive la comunidad. ers (Virgin Mobile). Associate Editor ist Peter Nicholson, chief Ken Liebeskind 203.227.1699 ext. 17 [email protected] creative officer of Deutsch Discovering new directorial talent for fresh and different perspectives New York, noted that the Contributors is a mandate at the industry’s top creative advertising agencies. Christine Champagne industry’s leading creative

ADVERTISING agencies are always on the lookout for of the spirit of sports. He stressed that She had been executive producer of Similarly Larry Byrne, director of East/Midwest/Canada new filmmakers offering fresh and dif- the right lighting and camera angles music videos at the former Propaganda broadcast/production at Ogilvy & Robert Alvarado 203.227.1699 ext. 15 [email protected] ferent perspectives. aren’t enough. Films for seven years, working with Mather, Chicago, noted that it was grat- International And in both this week’s Chat Room “I think there are a number of Eu- and helping to nurture talent that went ifying to discover director Lars Knorrn Roberta Griefer with Tom Cronin, newly named VP/ ropean directors we should be looking on to stardom, such as directors Dante for Dove’s Pro-Age campaign. 203.227.1699 ext. 13 [email protected] lead executive producer on Gatorade at at—not at the exclusion of American Ariola, Michel Gondry, Stephane Sed- “We have a crazy bunch of evange- West Coast Carl Gilliard Element 79, Chicago, and our Agency directors who we use primarily—to naoui and . lists around here,” said Byrne. “You 818.763.2678 [email protected] Producers Series story, the importance open up additional options for us,” said “I didn’t know the go-to Hispanic di- have to be true to Dove. These real Advertising Production of proactively seeking the right director Cronin. “ There’s a lesser known group rectors when I came here [to la comuni- women are exposing themselves physi- Gerald Giannone 203.227.1699 ext. 12 [email protected] is emphasized, with a clear affinity for of directors in Europe who are in tune dad],” recalled Malaga. “I was a general cally and emotionally [in this campaign]. discovering new filmmakers. with that [the essence of the athlete] market person. It came down to us try- We respect who they are and finding Classified 203.227.1699 ext. 12 [email protected] In his new role at Element 79, and we need to bring them into the mix ing to figure out who the best director the right director for that [work] is re- OFFICES Cronin said one of his prime respon- for consideration.” was for a particular project and in some ally important.” Main Offi ce 21 Charles Street #203 Westport, CT 06880 USA 203.227.1699 Fax: 203.227.2787 Creative Voice West 650 N. Bronson Avenue, Suite B253 By Robert Goldrich Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036 Circulation Iris Lo, Wieden + Kennedy, 203.227.1699 ext 12 [email protected] Editorial Production Manager/Reprints/Article Rights Michael Morgera Last month, Iris Transit Railway, HK Telecom, San ing with clients in new media forms exploring new areas. “I have seen 203.227.1699 ext. 11 [email protected] Lo relocated from Miguel Corporation and Kraft. is essential, especially in the China improvement in creative standards © 2007 DCA Business Media LLC. All rights reserved. Hong Kong to market which, she said, “is so big within recent years,” she assessed. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, Shanghai to become creative director Philosophical kinship and so diversified. It is getting more But at the same time, no matter if electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. of Wieden + Kennedy’s office there. Lo said what attracted her to W+K and more important [in terms of find- the work is conventional broadcast or To Subscribe Go To She has partnered with W+K Shang- “first and foremost was the philoso- ing ways of] how to reach your con- some newfangled form, the essential www.shootonline.com/go/subscribe hai creative director Frank Hahn and phy that creativity comes first. It is a sumer...A 30-second TV commercial dynamic remains the same. Lo sums For Subscription Service Inquires Call: 1.847.763.9620 managing director Kel Hook to com- dream come true for me to be part of no longer can do the job. I see huge it up by citing what she has person- If your mailing label says RENEW, plete the management team in China. a team that has the vision and creative opportunities in new forms [of media ally enjoyed the most about creative then go to www.SHOOTonline.com/go/renew and complete our online renewal form today. Current clients of W+K Shanghai in- skills to grow W+K Shanghai into a content].” endeavors during her career, noting clude Nike, EA and . creative cultural center in China. We Lo also feels that China is pro- that she feels proudest of “work that SHOOT (ISSN# 1055-9825) printed edition is published bi- weekly except in January, July, August, and December when Most recently, Lo served as creative have an opportunity to lead the indus- gressing in terms of ad creativity and moved people.” published monthly) for $125.00 per year by DCA Business Media LLC, at 21 Charles Street, Westport, CT 06880. Printed director for M&C Saatchi Hong Kong try in new and exciting ways.” periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to where she led the agency in both new She also told SHOOT that at SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. business wins and creative awards. W+K she is most looking forward Flash Back USPS (06-234) June 7, 2002 Bicoastal/international @radical media, bicoastal For SHOOT custom reprints please contact Michael During her Hong Kong tenure, the to “working with people who come Morgera 203.227.1699 ext. 11 or email to: mmorgera@ agency won work for the accounts of from different cultural backgrounds. Anonymous Content; bicoastal HSI Productions and bicoastal/inter- shootonline.com Kentucky Fried Chicken, Mass Tran- I expect that kind of cultural mix can national Hungry Man topped the field of production companies with SHOOT >e.dition published weekly except in January, July, August, and December when twice monthly. sit Railway–Union Square and Orbis inspire me to come up with some- six honors apiece at the 11th annual Association of Independent iSPOT, the digital newspaper for broadband video Skincare. thing different.” Commercial Producers (AICP) Show, the Art and Technique of the advertising, is published weekly on Wednesdays. For further information go online to www.shootonline. Prior to M&C Saatchi, Lo was the Indeed different is a theme running American Television Commercial....Director David Jellison has joined com/go/ispot executive creative director at BatesA- through Lo’s observations about the bicoastal Cohn+Company. He comes over from Tool of North America, SHOOT is produced in the U.S.A. sia in Hong Kong. Under her leader- industry and her aspirations at W+K. the bicoastal house that helped him break into the spot directorial SHOOT is a member of ship, that advertising agency became She noted for example that different ranks three years ago.... one of the most awarded shops in content such as emerging new media 2003 according to The Gunn Report’s projects going beyond the traditional June 6, 1997 Filmmaker Jessica Yu, whose Breathing Lessons: annual compilation of leading indus- broadcast :30 represent “definitely The Life and Work of Mark O’Brien won this year’s Academy Award try competitions. the future of advertising and the com- for best documentary short, has joined Santa-Monica based Back in 1997, Lo was promoted to munications industry.” non•fi c•tion spots, the shop launched in September 1996 by execu- creative director of JWT Hong Kong Lo was involved in new media fare tive producer Loretta Jeneski....Director Viktor Dittrich has joined Scream, the production house launched a year ago in Los Angeles where she gained widespread creative for the eBay account back in Hong by executive producer Charles Salice and New York-headquartered recognition for both clients and the Kong. She said that she found that Lovinger/Cohn & Associates.... agency largely on the strength of her experience gratifying. award-winning campaigns for Mass Becoming articulate and connect- 2 SHOOT June 8, 2007 Editors Justin Amore Shira Ankori Tim Kloehn Craig Lewandowski Grant MacDowell Steve Mach Jan Maitland Randy Palmer Katherine Pryor Deb Schimmel Jim Staskauskas Glorily Velez Kate Wrobel News

People & projects EP Fuselier Rebrands Dektor Shop, Signs Dir. Matt Helfgott By Robert Goldrich strength of spec work, including the That core has been familial in na- Leslie Dektor is a two-time Di- of the Guild competition. HOLLYWOOD, Calif.—Executive comedic Ameriquest “Brownie” spot, ture, led by director Leslie Dektor, rectors Guild of America (DGA) “The Dektor company has been producer Oliver Fuselier—a veteran which in turn led to his landing a who founded the production house Award winner as best commercial such a strong, iconic brand in the in- producer who’s no stranger to com- real-world assignment, Holland’s Na- in 1992 with his wife, executive pro- director of the year (in 1992 and dustry,” related Fuselier. “For me, the pany management, dating back to tional Job Bank commercial entitled ducer Faith Dektor. In recent years, 2000). He has been nominated 13 opportunity to make that brand cur- his tenure at Reactor Films, Santa “Office” out of Amsterdam ad agency sons Paul Dektor and Mark Dektor times for the DGA honor, second rent, with new branding and the ad- Monica, and a brief stint at Rhythm+ Selmore. In fact, the humorous story- have established themselves as direc- only to of Venice, Calif.- dition of new talent, was too good to Hues, Los Angeles—has come aboard telling piece “Office” was covered last tors via the company. based PYTKA in the storied history Continued on page  Dektor Film and initiated a rebrand- month in SHOOT’s “The Best Work ing of that longstanding shop, chang- You May Never See” gallery. ing its moniker to the more inclusive Helfgott’s spec endeavors Who? Is Back At greatguns:usa Dektor Film Group and bringing were furthered at the supportive aboard director Matt Helfgott. Group101Spots collective. Then “Of- By Robert Goldrich pansion, which is slated for August. quality creative work for its directors— The renaming of the Dektor studio fice” saw him collaborate with lead- SANTA MONICA—Who?—the di- However, the prime reason for the the kind of work we want to do more reflects Fuselier’s intent to infuse the ing European agency talent, includ- recting duo consisting of Liam Kan decision to come back to greatguns: of stateside—that it made sense for us and Grant Hodgson—has returned to usa, said Kan, was that the company to come back. We have a history with greatguns: usa for spot representation is quite different today from when he Tom, and the production operation he Matt Helfgott recently stateside after leaving the shop some and Hodgson were with it originally. has put together is very strong, which earned inclusion in three years ago to sign with bicoastal “At that time,” recalled Kan, “great- is appealing to two guys like us who SHOOT’s fifth annual Go Film. The move gives Who? con- guns had just opened in the United started out as editors and are pretty me- tinuity on both sides of the Atlantic States while its London office was ticulous about planning and pre-pro for New Directors Showcase. as the directorial team remains en- well established. We came around to our projects.” sconced in its long-time U.K. roost, thinking it might be a good idea to Still, Who? was active in the U.S. company with new talent, the first step ing Selmore partner/creative director greatguns in London. go with more of an established house market via Go, directing for such in that direction being the addition of Poppe van Pelt. And later this year, there’s the in the American market, which is clients as Windex (starting with the Helfgott who recently was named to “Matt is a rising young star and very promise of even greater international why we moved over to Go. But Tom noted “Head Games” spot) for Draft SHOOT’s 2007 New Directors Show- much fits the profile of the kind of reach as greatguns plans to open an [Korsan, partner/executive producer FCB, Chicago, John Hancock out case. Helfgott earned inclusion into talent we want to bring in to comple- office in Bangkok. In fact, at press of greatguns: usa] has done so much of Hill Holliday, Boston, Ricoh for the fifth annual Showcase (see sepa- ment the core of filmmakers already time, Hodgson was in Thailand, lay- with greatguns in the United States Lowe, New York, and most recently rate story in this week’s issue) on the here,” related Fuselier. ing a bit of groundwork for that ex- these past few years, attracting high Continued on page  From Hoop Dreams Mission Accomplished To Olympic Dreams For Editor Felipe Fenton Director Steven James, Leo Burnett Help Chicago Win Bid For 2016 Games VENICE, Calif.—Editor Felipe Fen- in the form of a three-spot pack- ton has signed with The Mission, age for Miller Lite out of Austin ad By Nicole Rivard the Venice shop headed by presi- agency LatinWorks. CHICAGO—The Windy City is com- dent Greg Laube, for exclusive spot Around the same time, a friend peting with Madrid, Spain and representation. Perhaps best known recruited Fenton to post some proj- Rio DeJaneiro, Brazil for the 2016 for his editing of several notable ects with him over at FOX. The Olympics thanks in part to direc- commercials for NASCAR while in- roost proved to be an ideal fit in that tor Steve James of non•fic•tion house at FOX, Fenton joins a roster Fenton was adept at 3D title effects, spots, Santa Monica. The Hoop of editors at The Mission consisting graphics, Flame, Avid, AfterEffects, Dreams director helmed a three- of Mitchell Sinoway, Jennifer Tiex- Combustion and other technologies. minute film for the Chicago 2016 iera, Celina Moreno, Ezequiel Saru- He wound up working on assorted bid committee via Leo Burnett, diansky and Paulo Carballer. spot campaigns over the years for Chicago, that struck a chord with Fenton learned film editing FOX, including the more recent ad the United States Olympic Com- #,)#+(%2%4/6)%730/4 while just a teenager at Toma Uno, promos for FSN and NASCAR, col- mittee, so much so that it chose a leading Mexico City house. He laborating with the visual effects Chicago over Los Angeles to rep- James’ short film captures the Olympic spirit of a young boxer and 11 other athletes. later augmented his training by at- supervisors at such noted studios resent the nation in the interna- successful bid has been a thrill- writer; Tyler Jay, producer) came tending Brooks Institute of Photog- as Digital Domain, Venice, and tional competition to host the ing experience. “Not only am I a up with the overall idea, James raphy in Santa Barbara, Calif. France’s Buf Compagnie. 2012 Summer Games. Chicago person and would love said he played a role in choosing His transition to the advertising Other spots on Fenton’s reel in- The film puts a spotlight on to see the Olympics come here, the athletes to be featured. For sector was almost genetic as his clude work for Carl’s Jr. and Bud- 12 young Chicago athletes. ages I am also a bit of a sports junkie. instance he had read a newspa- grandfather was president of Mexi- weiser. Looking to venture into a 12 to 18, who have dreams of The idea of working on a project per article about Destiny, the co City agency Nobley y Asociados. broader range of general market competing in the Olympics. The like this worked for me on a lot of 12-year-old boxer who appears Looking to learn more specifical- work, Fenton eventually gravitated documentary short shows where levels,” James told SHOOT. in the film. “My motto is don’t let ly about spot editing, Fenton came to The Mission in order to maxi- those dreams take root and Even sports junkies would find no one work harder than you,” aboard Santa Monica-based Miller mize his television commercial ed- where they might lead against the film eye-opening since the the youngster says in the film. Wishengrad Peacock (MWP), first iting opportunities. the backdrop of Chicago’s di- athletes highlighted participate James commented that he as an assistant and then elevating Laube said he was drawn to the verse neighborhoods. Being able in lesser known sports like fenc- could have done an entire docu- to junior editor. mix of Fenton’s experience, which to compete in the 2016 Olympics ing and rhythm gymnastics. The mentary on each athlete indi- During his five years at MWP, encompasses not only editing but in their hometown would be ic- idea was to feature athletes who vidually because they were so Fenton learned about commer- all aspects of postproduction. “I feel ing on the cake for these athletes. didn’t come from hugely popu- interesting and inspiring. “We cial cutting, working closely with it’s advantageous,” related Laube, And Since James currently lives lar sports like basketball. While wanted to go for something producer Gary Levine and editors “for an editor to be able to approach in Chicago, being involved with the team from Leo Burnett (Ron authentic and genuine. What Mike Miller, Jeff Wishengrad and each spot in terms of the complete the film that gained the city’s Nelkin, EP; Jim Schmidt, copy- Continued on page  Rhonda Peacock. context of post, be it offline editing, His first editing assignment came online work or visual effects.”  SHOOT June 8, 2007

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Cake Serves Pi Recipe For Design/VFX Short Takes SANTA MONICA—Cake Editorial, Pi—which at press time had sev- A HANDFUL FOR AN EYEFUL the Santa Monica shop founded by eral ad projects in production—just The offbeat humor of Skittles has made its way north of the U.S. president/executive producer Ta- wrapped a six-minute film titled X- border with a three-spot package—”Abs,” “Bike” and “Chop”— out tiana Derovanessian, has launched Elementz for the Los Angeles-based of TBWA\Toronto directed by Jim Hosking via production house Pi, a visual effects/graphic design/2D- pop/rock band X-Elementz. Inspired OPC, Toronto. In “Bike,” for 3D animation division led by cre- in part by the look of the film Sin City, instance, a teenager bored ative director Josh Kirschenbaum, a the project, which is part short film, to tears in a classroom long-time Cake staffer. Additionally, part music video, features more than sneaks a handful of Skit- Pi, also based in Santa Monica, has 300 visual effects shots. For Derovan- tles into his mouth. As he brought on board visual effects artist essian and Kirschenbaum the project chomps down on the candy, Brian Dickett who had been freelanc- was an ideal platform to showcase the he disappears in a puff of ing, most notably at Outpost Digital, range of creative services Pi brings to smoke and is transported Santa Monica, where he worked on the table. to a makeshift fantasyland recent projects for the Tennis Chan- Josh Kirschenbaum “We saw this as a great opportuni- where he is perched on one #,)#+(%2%4/6)%730/4 nel and General Motors—the latter be- nessian explained. ty to not only showcase everything cloud next to a lovely angel- ing a long-form assignment produced “We are not a one stop shop—I we can do but also provide us with ic lass standing on an adjoining cloud with her bicycle. He reaches by bicoastal/international @radical. don’t think it’s truly possible for a complete creative control over the out to touch her when he’s all too soon returned to the mundane media for Digitas, Detroit. company to be good at everything,” process—from concept/scripting to classroom. Reasoning that he needs another handful of Skittles to “Although Josh has been a part of noted Derovanessian. “Cake and Pi execution to green screen produc- take him back to nirvana, the teen immediately downs some more Cake since we opened in 2004, clients are high-end boutiques that special- tion, compositing, 2D/3D anima- of the candy treats and is again with the lovely lady, except this were requesting him independent of ize in creative editorial and design, tion and complete post,” related time he’s on the same cloud and on the bike, with the handlebars the editorial work we were doing,” animation/visual effects respectively. Kirschenbaum. sticking out of his head. He’s perfectly content to be with the girl said Derovanessian. “Because of that The launch of Pi is about better ac- “With Pi, it‘s important that we as he rings the bell on the bike handlebar in obvious approval. A high demand, now seemed like an commodating our clients and tailor- give our clients visual effects/supervi- parting product shot of a bag of Skittles is accompanied by the slo- ideal time to launch Pi with its own ing the creative process to their spe- sion resources that they could access gan, “No handful is ever the same.” The TBWA team included copy- identity, staff and creative vision.” cific needs with specialized talent.” independent of the editorial work writer Allen Oke, art director Scott Couture and producer Nadya Also the fact that more feature film Prior to Cake, Kirschenbaum was a Cake does,” said Kirschenbaum. “We MacNeil. Harland Weiss executive produced for OPC, with Merrie opportunities have emerged recently visual effect artist/technical supervisor want Pi to be its own thing.” Wasson serving as producer. The DP was Doug Koch. Editor was meant that Pi needed its own brand- at the former effects/supervision house Pi has secured Michael Bennett Mark Morton of School Editing, Toronto. Visual effects were done ing, marketing and infrastructure to Banned From The Ranch, where he of Santa Monica-based independent by Crush, Toronto. handle the workload and become a worked with numerous feature film- commercial representation firm Mutt proactive player in this niche, Derova- makers, including James Cameron. to handle the West Coast. CHERRY PICKING Cherry Lane Music Publishing Co. Inc., a New York-based inde- ARTISANS pendent music publisher with production clients that include DreamWorks Animation SKG and DreamWorks Pictures, The Weinstein Company, Lakeshore Entertainment, NFL Films and Greg Ramsey Joins Curious Pictures NASCAR, has signed a long-term agreement with music produc- NEW YORK—Noted tabletop direc- well as his original Fruitopia kaleido- has to offer is amazing,” Ramsey said. tion library APM Music (a joint venture of EMI Music Publishing tor Greg Ramsey has come aboard scope work for Coca-Cola and Chiat/ “It’s a dream—a fully equipped stage, and BMG Music Publishing) to provide music from Cherry Lane’s the roster of New York-based mixed Day, New York. He has shot macro- an in-house effects supervisor, an art catalogs for APM’s diverse collection of musical genres. APM’s media/animation production house photography segments for such feature and design curator, teams of anima- library tracks are made available for licensing in film, television, Curious Pictures. films as Blown Away and The Paper, as tors, the list goes on and on. It feels advertising, radio, recording, games and new media. Previ- Ramsey leaves bicoastal Celsius well as for trailers for Men in Black, X- like a Hollywood studio with the per- ously, Cherry Lane, as music administrator for Electronic Arts, Films, where he was on the compa- Men and The Patriot. sonality of a boutique.” the world’s largest videogame publisher, negotiated a deal with ny’s original directorial roster when it Ramsey said he was drawn to Curi- Mary Knox, Curious’ executive pro- APM for use of EA created and owned music. Through this agree- opened in 1996. ducer for commercials, concurred that ment, tracks from the musical scores of EA’s top-selling titles “More of what I’m doing now as a di- there’s a great synergy between the became available for licensing to the production community rector involves the integration of digital digital world of Curious and Ramsey’s through APM. Cherry Lane continues to administer this unique effects and live action,” said Ramsey. tabletop universe. “We’re already bid- agreement. Founded in 1960 by producer/arranger Milt Okun, “Joining Curious, with its great digital ding projects that involve Greg and Cherry Lane oversees an extensive catalog of songs from Elvis and design capabilities, is the perfect our effects department,” she noted. Presley, John Denver, Quincy Jones and Ashford & Simpson, to next step for me, as it will allow me to The move also reunites Ramsey more recent Billboard chart-toppers including the Black Eyed become more deeply involved in the with Carolyn Hill, who represented Peas, John Legend and Wolfmother. digital elements of my work.” him previously at Celsius. Hill now “The seamless mix of live action handles East Coast sales for Curious as PEOPLE IN THE NEWS and effects is a key element of some an independent rep. The studio’s head Jeff Elmore, who joined postproduction house charlieunifor- of Greg’s best spots,” assessed direc- of production, Becky Friedman, is also mtango, Dallas and Austin, in 2005 as an assistant producer, tor Steve Oakes, a Curious partner a recent addition to Curious (SHOOT, has been promoted to audio and cofounder. “Tabletop integrates 4/13). She formerly served as a senior producer. His recent projects digital techniques right from the start. Greg Ramsey producer at BBDO New York. include Texas Lottery and Having all these tools at his disposal ous for a number of reasons beyond Ramsey’s signing comes follow- Ponderosa for TracyLocke, will really let him stretch his consider- just its digital and design resources. ing the studio’s recent agreement to Dallas, and Nationwide Radio able design talents.” “There are so many other forms of represent noted British animator and for The Richards Group, Dal- Ramsey’s tabletop work runs the media projects here, and I’m intrigued mixed media filmmaker Osbert Park- las.....Brickyard VFX, which gamut from food and beverages to by the opportunity that it presents,” er for spots in the United States. Cu- maintains visual effects bou- more design-driven projects that incor- he related. Curious is involved in a rious’ directorial roster also includes tiques in Boston and Santa porate full-up live action. His current diverse range of media genres, includ- Eric Fogel, Stefan Nadelman, Ugly Jeff Elmore Monica, has added producer reel includes work for Dasani, Boars ing animation, web shorts, mobile Pictures, Saul & Elliot, Tom Warbur- Cara Farnsworth to its West Coast operation as producer. Most Head (a complex spot that used almost content, TV series production and ton and Mo Willems. The company is recently, she was an effects producer at Asylum VFX on features entirely in-camera effects), Splenda and feature documentaries. led by partners Oakes, Susan Holden, and commercials. Lance Armstrong’s Livestrong.org, as “The depth of resources Curious Richard Winkler and Jonathan Paley.  SHOOT June 8, 2007 THE DIRECTOR’S TO-DO LIST: EXPOSE TRUTH. ELICIT EMOTION. PROVOKE THOUGHT. STAY IN BUDGET. GUESS HOW HE DOES IT?

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Who? Returns To greatguns:usa HD Essentials

Continued from page 4 property in New Orleans; she thought with Grant, for example, then Grant their swan song at Go, an Off insect he would make an interesting docu- will handle working with that artist On The Lot repellent ad for Draft FCB. mentary subject so Kan and Hodgson and getting from him or her a believ- At the same time, Who? has been sought him out and wound up shoot- able performance. We pretty much Reality lends itself well to HD lensing, according to cinematographer busy in the U.K., including production ing for two weeks in the Big Easy, re- are flexible enough to do whatever Jay Hunter. and post intensive Christmas ‘06 and sulting in the 50-minute film. works best during production.” As 50 aspiring fi lmmakers endure a rigorous “Hollywood Boot Easter ‘07 spots for home improve- Kan noted that he and Hodgson are The greatguns:usa directorial roster Camp” to kick off the new reality series On the Lot which debuted last ment store chain Homebase via AMV “quite similar” and thus their respon- includes Claudia Alberdi, Gurinder month, Hunter, the show’s DP, is taming the tentacles of what he calls BBDO, London. Other European sibilities can change from job to job. Chadha, Luis Gerard, Jeremy Hac- “the reality show octopus beast” using Sony’s XDCAM SD PDW-530 credits for Who? include spots for Peu- “It’s not your typical situation where coun, TJ Hall (who was included in Professional Disc system. geot (“David Blaine,” “Creases”), the one member of a directing team al- SHOOT’s 2007 New Directors Show- “I compare shooting reality television to an octopus because U.K.’s Virgin Trains and a campaign ways works with the on-camera talent case), the Hughes Brothers, Sharon each arm (camera) is shooting independently. It presents huge for Volvic bottled water. The directors while the other handles the crew and Maguire, David Nutter, Frank Ock- quality control challenges because it creates an image phenom- have become perhaps best known for problem solving,” related Kan. “If an enfels, Phil Taylor, Alejandro Toledo enon known as ‘NTSC’—never the same color,” Hunter said. “With its their prowess in storytelling and pen- actor seems to have a better rapport and Lizelle Wagner. ability to store scene files, the XDCAM is much more like a com- chant for humor, sometimes skewing puter than the video cameras of the past. With the flick of a switch, to the dark side. Dektor Signs Helfgott Who? has also demonstrated lon- you can sync up all 12 cameras to the exact same look—eliminating ger form filmmaking chops with The color variables and inconsistencies.” Steve Plan, a documentary that was Continued from page 4 been primarily freelance producing, Hunter also contended the scene fi le storage also helps make the selected for the ‘05 Breckenridge pass up. I also get the chance to intro- learning from and working regularly editor’s job easier when color correcting thousands of hours of foot- Film Festival and the ‘06 New Orleans duce the new generation of [agency] with such leading directors as Mike age in post. Film Festival. The Steve Plan tells the creatives to Leslie Dektor and what he Mills of The Directors Bureau and Hunter, who also used the XDCAM SD in the production of Rock story of physician Steven Lesser, head can do. It’s the chance I’ve been wait- Lance Kelleher, who was with Par- Star: Supernova and America’s Next Top Model, calls XDCAM a tool that of the ER unit at Charity Hospital in ing for, a great way for me to return to tizan and then Form before recently greatly elevates reality TV production, a genre he observed hasn’t New Orleans. While we see him in company management.” landing at Beverly Hills-headquar- received much respect in the past for its image quality. For On the his day-to-day work largely treating Fuselier will work closely with tered Saville Productions. Lot, Hunter guided his crew to shoot the series using the camera’s youngsters’ gunshot wounds, the film executive producer Faith Dektor. Lori Youmans of independent progressive 30P mode to give images a “beautiful fi lm-like quality,” centers on his personal aspiration Among his prime responsibilities will rep firm Lori & Company has been while maintaining a “more real look and feel of video.” to be an artist. Lesser is an engaging be to expand the shop’s directing ros- secured to handle the East Coast “The camera has great capacity to see into darkness and capture character and a talented sculptor. ter and to manage the rebranding of for Dektor Film Group. Indie reps detailed highlights and shadows,” he related. “The results are very Who? was turned on to him by Nancy the company, including overseeing all Andrew Halpern and Marguerite Ju- stunning and dynamic.” Gregory, greatguns’ managing direc- packaging (a new logo is in the offing) liusson continue to cover the West Hunter said capturing time-lapse imagery, a commonly used tor in London. Gregory met Lesser and website redesign. Coast and the Midwest, respectively, transition eff ect in reality TV, is done much more effi ciently in the while filming a job at his workshop For the past five years, Fuselier has for the company. XDCAM’s true time lapse mode that mimics 35mm production. Another favorite XDCAM SD feature is the memory cache that al- lows operators to recover footage up to 10 seconds before the cam- James Helps Windy City Win Olympic Bid era is recording. “In the past, we were just out of luck if we missed a shot,” Hunter said. Continued from page 4 Death House Door, it is the story On The Lot is produced by noted reality TV show maven Mark Bur- could be more genuine than of the wrongful execution of Car- nett and Academy Award-winning fi lmmaker Steven Spielberg. young dedicated athletes? los DeLuna and the Death House It’s not a big budget piece. It’s Chaplain, Pastor Carroll Pickett, Ultra HD simple and straightforward. who spent the last day of DeLu- ATEME’s encoding technology was selected for use in the fi rst pub- And it’s not narrated—we let na’s life with him. The story fol- lic Ultra HD demonstration with MPEG-4 AVC (H.264) by broadcaster them speak for themselves and lows the career journey of Pick- NHK in Tokyo. ATEME is cooperating closely with NHK Labs in the young athletes everywhere ett, culminating in the story of design and development of this next-generation standard. who pursue a dream like this.” DeLuna, a convict whose execu- NHK, which fi rst began research into HD in 1964, has now started James said he shot 12 kids in tion bothered Pickett more than public testing of Ultra HD. NHK’s Ultra HD technology includes a three days. “It was a real chal- any other. He fi rmly believed the resolution of 7680 x 4320, which is up to 16 times clearer than that lenge. They were long days. But Steve James man was innocent, and the fi lm of HDTV. The prototype super-fast cameras can capture data at a I was real happy with the degree taries. In the work that I do, the tracks the investigative eff orts rate of 4,000 frames per second and the audio component is 22.2 (as we were able to connect with the people who shoot and record of a team of Chicago Tribune compared to today’s 5.1 surround sound). kids,” he said. sound for you are key people in reporters who have turned up Ultra HD cameras, recorders, encoders and projectors are being The ability to create that bond the process because we try to evidence that strongly suggests developed now; 2009 will mark the introduction of the full specifi - so quickly stems from the work- create an intimate connection he was. The fi lm is a Kartemquin cation for Ultra HD. NHK estimates that satellite transmission tests ing relationship between James, between us and the subject. In Films Production in association DP Dana Kupper and Rich Pooler, the case of the Ford project and with the Chicago Tribune for The will begin in 2011, and that Ultra HD will be ready for broadcast to who handles sound. James is the Olympic piece that is some- Independent Film Channel. households by 2020. currently working with the same thing that had to happen very James has been shooting since Ultra HD broadcasting consumes a tremendous amount of team on a year-long Ford Cam- quickly. In the fi lms I do that pro- March of 2006 and hopes to fi n- bandwidth—18 minutes of uncompressed footage consumes 3.5 paign out of JWT/Team Detroit cess evolves sometimes literally ish fi lming this year. terabytes of data and one minute of uncompressed footage con- that is comprised of a series of over years of fi lming.” “It’s a really interesting story sumes 194 gigabytes. The use of ATEME’s MPEG-4 AVC compression 14 webisodes starring real life James pointed out that the about this wrongful conviction technology dramatically reduces the bandwidth requirements while drivers of the 2008 Super Duty feature documentary he is cur- and execution and the eff ect it maintaining the best quality. pickup truck in a variety of work- rently working on with director had on the family of the man and ATEME maintains offi ces in Fance, Canada, China and Japan. ing situations across the country. Peter Gilbert is taking a consid- the impact that the execution *** “These are people I have worked erably shorter time to complete and his overall career had on this Contact SHOOT editor Robert Goldrich with HD-related news and with for years in my documen- than his past fi lms. Called At the pastor,” said James. developments at [email protected] or at (323) 960-8035.

8 SHOOT June 8, 2007

CHAT ROOM

Tom Cronin Newly Named VP/Lead Executive Producer on Gatorade at Element 79 Refl ects On The Brand and The Business

By Robert Goldrich at Element 79, continuing to contribute to spotmaking for Gatorade An unabashed sports fan, Tom Cronin defi nitely picked and then Propel. The latter included last year’s acclaimed campaign, the right gig. A founding member of Element 79 Partners, the centerpiece of which consisted of three spots directed by Baker he was recently promoted to VP and lead executive pro- Smith of Santa Monica-headquartered harvest: “Uphill,” “Power Walk” and ducer for the sports-driven Gatorade brand at the “Stress Monster.” Chicago ad agency. Cronin’s stellar Gatorade fare included “Big Head” directed by Dante To say that Cronin provides continuity for Gatorade Ariola of bicoastal/international MJZ in which little kids had the over- is an understatement. He has spent the past dozen sized heads of such star athletes as New York Yankees shortstop Derek years working closely with the brand, initially at Bayer Jeter, Indianapolis Colts quarterback Peyton Manning and soccer star Bess Vanderwarker, a Chicago-based ad shop that was Mia Hamm. acquired by Foote, Cone & Belding. He produced assorted While Gatorade has been a fl agship account in his career, there was notable Gatorade spots at Bayer Bess Vanderwarker and professional life before that client for Cronin. Prior to Bayer Bess Vander- then at FCB Chicago where he moved up to executive warker, he was a producer at BBDO Chicago. producer working on other accounts as well such as SHOOT asked Cronin to refl ect on how the Gatorade business has Snapple, Diet Snapple and Aquafi na. evolved, his new responsibilities at Element 79 and the ever changing Cronin then moved over to an executive producership media landscape.

SHOOT: Your involvement in and We have to make sure we’re doing it in media with no problem. We want expand our resources to tap into be- in the playoffs and Dwight Clark’s now production stewardship of the a smart way, though. It can’t be a reac- to continue with that kind of work. cause scheduling can be so difficult for catch of a Joe Montana pass to put the Gatorade account gives you a unique tionary thing, to do something because We’re not reinventing ourselves. We the right directors. San Francisco 49ers in their first Super perspective on where the brand has we have to be there. just keep pushing to be true to the Bowl] that could have turned out differ- been and how it has progressed over brand and what our audience enjoys SHOOT: What do you mean by ently. You can’t fake that. Our viewers the years. Take us through the evolu- SHOOT: Making the transition easier, and appreciates. directors who might be “more spe- are experts. So we’re always looking for tion of this brand. though, is the entertainment dynamic cific” to Gatorade? directors and artists who can capture which is a longstanding part of the Ga- SHOOT: Define your new role in the realistic look and feel of competi- Cronin: The account has grown ten- torade brand. terms of responsibilities. Cronin: Directors who understand tiveness, of Gatorade’s “Is It In You?” fold since we started on it years ago. how to shoot sports so that it looks au- I think there are a number of Eu- The sports beverage category was Cronin: Yes. Part of what we do has Cronin: To help to continue to pro- thentic. But I’m not just talking about ropean directors we should be looking invented by Gatorade and they own to do with the way the product works, duce great work. To keep me as the the right lighting and angles. An un- at—not at the exclusion of American 85 percent of it. That makes it a multi- its credibility for replenishing neces- go-between between all the agency derstanding of great sports photogra- directors who we use primarily—to billion dollar brand. Production has open up additional options for us. You changed to reflect that. The produc- Cronin cited Gatorade’s “Thief,” look at some of the great soccer work tion reflects a leadership role in the for adidas that captures the essence marketplace and I want to continue starring Harvey Keitel and Derek of the athlete. There’s a lesser known that in my new role here. Jeter, as being a prime example group of directors in Europe who are I’m not just talking about leader- in tune with that and we need to bring ship conceptually and technically but of a spot that represents what the them into the mix for consideration. It being on the cutting edge across all brand stands for. “Thief” was all comes down to finding the right di- categories. As a leader brand, it has to rector for the concept. I want to open look like a leader in all our commer- directed by Stacy Wall of Epoch. up all those options for our producers cials, to reflect that spirit of leadership. so that they have the most to choose That applies to the celebrity athletes from in ultimately deciding which di- we use, like a Derek Jeter, a Peyton sary body fluids for the serious athlete. producers, all the jobs going on and phy has to encompass an understand- rector to go with. Manning, a Kevin Garnett. But then we have work that doesn’t the client. ing of the spirit of the sport. Capturing talk about the product but what it has the heart, spirit and competitiveness SHOOT: Given the breakthrough SHOOT: That leadership profile ex- come to stand for, a great example SHOOT: Does that include the selec- of the sport and the athlete—all admit- work you did for Propel, was it tough tends to new media as well? being the Derek Jeter/Harvey Keitel tion of directors? tedly in a staged fashion but not look- for you to leave that account altogeth- commercial [“Thief,” a SHOOT Top ing staged—is essential. er to focus on Gatorade? Cronin: Yes, though I’m not at liberty Spot—5/25—directed by Stacy Wall of Cronin: As a producer at FCB and Everybody out there in the audi- to discuss specifics at this time. We have Epoch Films]. here, I had total autonomy in terms ence knows what it’s supposed to look Cronin: Yes, it was a tough decision. had a lot of discussion about new areas. Keitel represents the inner com- of finding the right director. I don’t like. There’s no fooling our audience. That was cutting edge work in its own The target audience for Gatorade is petitive spirit of Jeter—I love that spot have any intention of now sticking I remember when we did the spot right that enabled me to play in areas young males, committed athletes and and wish that I had worked on it. You my nose into that relationship with about three famous plays [Jeter’s flip that Gatorade doesn’t get to. But we sports lovers. New media represents a can identify with that inner voice if other producers here. to the catcher to get a game-saving have that work in good hands here. prime way to reach that audience, and you’re a baseball fan or not. It’s fun, But I would like to expose all of us, out at home plate in the postseason, [Rob Jaeger was recently promoted to we have very serious plans in that re- it’s the spirit of the brand. It’s the kind myself included, to people who might Michael Jordan’s last second winning Element 79’s lead executive producer gard. It will be a big part of my purview. of work that can translate into other be a little more specific to Gatorade, to basket against the Cleveland Cavaliers on the Propel account.] 10 SHOOT June 8, 2007 MJZ Tops AICP Show With Eight Honors; Smuggler Scores Five Continued from page  egory for: Coca-Cola’s “Parade” direct- Randy Krallman-directed “Still Free” Ariola’s “Snowball” for Travelers ed by Ariola for Wieden+Kennedy, for Ecko Unlimited out of Droga5, Insurance via Fallon Minneapolis—an Portland, Ore., with the music com- New York. entry that helped him garner the DGA posers being Cyrus Melchor and Gus Award—copped honoree status in the Koven of stimmung, Santa Monica; Four score AICP Show’s Visual Effects category and the Joanou-directed “Blue” for Scoring four honors each were (effects were done at WETA Digital, Fruit of the Loom Blue’s Collection’s bicoastal/international houses Hun- Wellington, N.Z.), as did the Sanders- “Blue” out of The Richards Group, gry Man and Moxie Pictures and helmed “Arboretum” for Sears and Dallas, with the composers being bicoastal Anonymous Content. Mox- Y&R, Chicago (from visual effects Roger and Scott Wojahn of Wojahn ie’s American Express spot “Wes house Method, Santa Monica), which Bros. Music, Santa Monica. Anderson,” directed by Anderson additionally scored in the Agency for Ogilvy & Mather, New York, Art Direction category for Y&R’s Smuggler was honored in the Visual Style and Isabela Ferreira and creative direc- Right beyond MJZ with five AICP Advertising Excellence/Single Com- tor/art director Mark Figliulo. The Show honors was bicoastal Smuggler, #,)#+(%2%4/6)%730/4 mercial categories. The latter carried Fuglsig-directed American Legacy which scored in the Production and additional weight in that for the first Foundation spot “Singing Cowboy” Cinematography categories for Vase- ’s “Manthem” year the AICP Show set out to name for Arnold Worldwide, Boston, and line’s “Sea of Skin” directed by Ivan Stylewar-directed “Ring” for eBay with sound design by Bill Chesley one honoree in the Single Commer- Crispin Porter+Bogusky, Miami, was Zacharias and shot by DP Jan Velicky out of BBDO New York; in the Sound of Amber Music, New York; and in cial category, giving it a best spot of honored in the PSA category. for Bartle Bogle Hegarty, New York; Design category for Sprite’s “Omni- the Advertising Excellence/Next show luster. And MJZ’s other two AICP Show in Production Design (production bus” directed by the Happy collective category (recognizing excellence in Meanwhile Moxie Pics’ Martin honors came in the Original Music cat- designer Stephen Sumney) for the for Crispin Porter+Bogusky, Miami, nontraditional media forms) for the Continued on page 18 Cannes-Do Attitude To Tackle Varied Topics, Technologies Continued from page  forms, spanning such areas as mobile production house Draw Pictures and points along the Croisette. There will don’t even set foot in the Palais des ing this year’s slate, which includes marketing, Bluetooth, online music creative digital agency Asabailey. also be ad critiques and coverage of Festivals. It increasingly feels like DDB Worldwide Bob Scarpelli who licensing, animation, digital TV and Content will include interviews other happenings of importance on the official Cannes Lions awards and will chair both the Film and Press ju- broadband interactive advertising with various notables about digi- the fringe. conferences are kept alive and inno- ries; Alex Bogusky, chief creative of- solutions. New technologies and a tal advertising, sprinkled in with Patrick Holtkamp, co-manag- vative by surrounding fringe events. ficer of Crispin Porter+Bogusky, who discussion of their applications will the frivolous—highlights from the ing director of Draw Pictures, said, It’s about time someone gave this heads the Titanium Integrated Cam- be center state in an exhibition which previous night’s parties, shenani- “Many of the people who go to fresh and dynamic side of the festi- paign Lions jury; and David Verklin, opens June 17 on Level 1 of the Pal- gans from the Gutter Bar and other Cannes for the advertising festival val the attention it deserves.” CEO of Carat Americas and chairman ais, with an accompanying series of of Carat Asia Pacific, who is Media Li- workshops. Scheduled exhibitors in- ons Jury president. clude Accenture Marketing Sciences, Part and parcel of seriousness Ricall, Pump Audio, Elias Arts, Sting- over new forms in a changing ad ray Digital Media, I Can Fly Group, landscape is the need for different N’Volve, BLIP Systems and Chel- industry sectors to adapt or else get lomedia. Workshop topics include lost in the evolving shuffle. This making sense of the branded content survival instinct is even reflected in revolution (presented by Ogilvy) and 7EHEARYOU the Cannes Festival’s seminar pro- interactive digital advertising (pre- gram, perhaps most notably in The sented by Chellomedia). Cannes Debate, Now or Never: Re- inventing the Agency Model. Slated Conventional fare for this session to share their obser- Longstanding components of the sound design vations and experiences in adapt- fest will also be prominent and rel- original music ing are Andrew Robertson, presi- evant, a prime case in point being dent/CEO, BBDO; David Droga, Saatchi & Saatchi’s New Directors voice casting creative chairman of Droga5; Jeff Showcase, underscoring the continu- record Goodby, co-chair, Goodby, Silver- ing need for fresh directorial talent no mix stein & Partners; and Daniel Morel, matter what the form ranging from chairman/CEO of Wunderman. traditional broadcast :30 to shorts to surround Similarly, other new marketplace longer form branded entertainment ISDN dynamics will be discussed, includ- and the like. HD ing consumer-generated content in a seminar featuring Ann Murkherjee, On the fringe VP, marketing for Frito-Lay; Stefan As for the earlier alluded to frivol- Olander, global director, digital and ity, there will be a tongue-in-cheek content for Nike; Babs Rangaiah, look at Cannes with the launch of director, media and entertainment, a renegade website (www.cannes- WWWSOUNDHOUNDCOM USA; and Mark Wnek, fringe), a behind-the-scenes video 45 W 45th St. NYC chairman/chief creative officer of blog, with mobile video downloads, Lowe New York. exploring the Cannes Ad Fest’s noted Andrea Rhodes Additionally the Cannes Lions is fringe elements. Producing Cannes launching a new Content Showcase Fringe—independent of and with no [email protected] focused on the innovative applica- affiliation to the Cannes Festival it- tion of content across multiple plat- self—are London commercial/promo June 8, 2007 SHOOT 11 Top Spot of the Week Noam Murro Tosses Around Unusual Insults For Orbit, Energy BBDO By Christine Champagne him and the other woman, who hap- really did a great job of writing it.” and let the language dominate.” Noam Murro doesn’t usually direct pens to be a co-worker of his. Energy BBDO creative director/ He also ensured that the pacing spots that are part of a long-established “What the French toast?” he re- copywriter Mike Roe conceived “The was quick enough to suit the situation. campaign. But the director, who works sponds. Affair” with creative director/art di- “The interplay was so important,” Roe out of his Los Angeles-based production “Did you think I wouldn’t find out rector Frank Dattalo. The goal with added. “It is this ping-pong effect of company Biscuit Filmworks, says he about your little doo-doo head cootie the spot was to deliver Orbit’s message one silly word begetting another silly couldn’t resist when Chicago’s Energy queen?” she asks. “in a fresh way that people haven’t word begetting another.” BBDO approached him with the script “Who are you calling a cootie queen, seen before and to keep an element There is always pressure on the set for a :30 titled “The Affair,” the latest you lint licker!” the other woman an- of surprise,” Roe said. “We don’t want of a spot job, but Roe and Jackson said in Orbit chewing gum’s six-year-old grily retorts. people from the beginning going, ‘Oh, that Murro’s preparation and decisive- campaign. “It just felt “Pickle you, kum- I bet this is an Orbit spot.’” ness helped make the experience of like such a departure quat!” the wife shouts shooting “The Affair” enjoyable. “We from the campaign and back. The bickering A-list directors had a great deal of fun with him, and such an original idea,” continues, with the Not surprisingly, Roe and his col- he brought some fresh thinking to the Murro reflected. wife eventually dump- leagues were thrilled when Murro words as well,” Jackson said. “I have to Historically, Orbit ing a box of car parts agreed to direct. “For us, he was a say on the set it was a laugh a minute.” commercials have at her husband’s feet. natural choice, a really smart thinker,” Another key player in the project: had the brand’s lovely Turns out she put his Energy BBDO Senior VP/Director of Editor Avi Oron of New York-based Bi- British spokeswoman prized convertible Broadcast Production Diane Jackson kini Edit. According to Jackson, Oron (played by Vanessa through the wood said of Murro. was instrumental in making sure the Branch) stepping chipper in a fit of rage. Throughout the course of the Orbit spot struck the right tone in terms of in- into a situation where The Orbit spokes- campaign, Energy BBDO has been tensity and humor. “You treaded a fine someone has a dirty Noam Murro woman suddenly able to score A-list directors (Happy line between it being emotional and mouth and saving the day by giving pops up in the midst of the heated and Brian Beletic of bicoastal/interna- being disturbing,” Jackson said. “We them a piece of gum to clean that dirty exchange. “Fabulous. New Orbit tional Smuggler are among the other really had to find a middle ground to mouth. However, in the case of “The raspberry mint cleans another dirty major talents who have directed Orbit keep the humor working but not make Affair,” which finds a wife confronting mouth,” she proclaims. spots), Jackson pointed out, reason- it too intense and frightening, and our her husband and his mistress at his of- The trio stops trading barbs long ing that it speaks to the quality of the editor, who was great, did that.” fice, the trio featured is rendered inca- enough to flash smiles at the camera, campaign’s concept and writing. pable of uttering a bad word from the then the fighting ensues in the back- As for working with Murro spe- start because they are already chewing ground as the tagline “For a good cifically, both Roe and Jackson were top Orbit gum—so they are forced to spew clean feeling no matter what” appears impressed from the start with his cast- the kinds of goofy insults third graders on the screen. ing prowess. During auditions in Los might swap on the playground. “We augmented it a little bit here Angeles, Murro grouped the actors in Spot “You son of a biscuit-eating bull- and there,” Murro said of the script. trios and had them run through the of the week dog!” the wife yells at her husband “But you’ve got to give credit where dialogue together. “Noam really had CLIENT as she barges into his office to have at credit is due. I think [the creative team] such a clear vision of what he was look- Orbit ing for, probably the clearest of anyone I’ve ever worked with,” Roe praised. Agency “He is very intuitive. Noam could Energy BBDO, Chicago tell very quickly if somebody was right Marty Orzio, executive VP; Mike or not,” Jackson remarked. Roe, creative director/copywriter; Frank Dattalo, creative director/ Some of the actors got tongue-tied art director; Diane Jackson, senior given the unusual dialogue. “When VP/director of broadcast produc- the actors messed up, they actually tion; Brigette Whisnant, executive swore,” Jackson said, “which in the producer context of what we were doing was re- PRODUCTION COMPANY ally funny.” Biscuit Filmworks, Los Angeles “Pickle you, kumquat” was the line Noam Murro, director; Toby Irwin, that most often made people burst DP; Shawn Tessaro and Eric Stern, out in laughter. “It was a good testing executive producers; Jay Veal, line ground for the dialogue,” Roe said of producer. Shot on location in Los the auditions. Angeles EDITORIAL Cast Bikini Edit, New York In the end, Murro cast Howard Avi Oron, editor J. Rosen as the philandering hus- band, Jane E. McPherson as his an- POST gry wife and Jessica M. Lee as his Nice Shoes, New York Chris Ryan, colorist defensive mistress. Murro and DP Toby Irwin shot AUDIO “The Affair” in an actual office in Los Hoffman Sound, Chicago Angeles in one 10-hour day. The direc- Justin Mayer, mixer tor chose to create a simple set up. “He #,)#+(%2%4/6)%730/4 PERFORMERS didn’t overcomplicate the environ- Vanessa Branch, Howard J. Rosen, “The Affair” To Remember: Orbit Gum not only cleans a dirty mouth but in this case prevents mouths from uttering any obscenity-laced tirades. Hence ment or the way he shot it,” Jackson Jane E. McPherson and Jessica M. Lee a husband caught red-handed in his infidelity instead sparks a series of goofy juvenile insults among him, his wife and mistress. said. “He kept it pure and really simple 12 SHOOT June 8, 2007 The Best Work You May Never See Olsen, Jessen Get ‘Naked’ For Auto Body Shops By Robert Goldrich getting two previously mounted deer heads to look as though they were talking. An SUV winds it way down a road at night that takes it through a forest area. The “Naked Deer” footage was transferred by Spy Post, San Francisco. The Suddenly we hear the sound of screeching brakes and a thud as the vehicle hits offline edit was handled by Doug Werby of Ballistic Pictures, Berkeley, Calif.; something in its path. Emaginate in San Rafael handled both online and visual effects. The audio was Turns out it’s a naked man who’s stunned and dazed but has enough where- recorded and mixed by Ursa Minor Studios, also of San Rafael. withal to get to his feet and flee off into the woods. He reunites with two other The naked man was played by San Francisco actor Joshua Garcia, with actors naked friends who disappear into the brush. Kipp Glass and Melanee Nelson playing the naked friends in the woods. No na- A cut to inside the SUV reveals the driver and passenger in the front seat: Two ked people were harmed in the filming of this commercial, quipped Jessen. deer. The driver turns to his companion and says, “It’s like they want to get hit.” We see a dented bumper as the SUV starts up and drives away. Continuing the grind A voiceover simply asks, “Need a body shop?” Jessen has made a business not only of creating, directing and syndicating spots This is followed by the supered name of Blake’s Auto Body, listing its various but also helming and writing spots for longstanding clients. For example, he re- Northern California locations (San Rafael, Novato, Santa Rosa and Rohnert Park). cently completed a :30 for DenTek Oral Care in which we see a woman grinding However, the spot can be for any auto body shop—literally, as its producer, Jes- her teeth as she sleeps. The spot then cuts to animated teeth screaming in pain as sen Productions, San Francisco, is syndicating it to various markets via its PreFab they grind. Then after the woman inserts the DenTek NightGuard, the teeth are Ads (www.prefabads.com) marketing arm. Titled “Naked Deer,” the commercial- shown in complete tranquility, snoozing and snoring away. -for which a new version was recently released—has been licensed to some 30 inde- Titled “Teeth Guys,” the spot debuted this month on such cable networks as pendent auto body shops across the United States for local usage. FX, Discovery Health, SciFi Network and TV Land. “Teeth Guys” is the eighth This licensing biz was born in ‘96 when Jessen created, produced and directed commercial that Jessen has written, directed and produced for DenTek in recent “Sledgehammer” for Blake’s Auto Body. The spot depicted a woman out to gain years. Furthermore, Jessen has decided to more aggressively pursue commercials revenge on her ex-hubby as she drives into a golf course parking lot and finds a and plans to soon secure a lineup of reps to handle him as a director. And at press hot red Mustang. She proceeds to put a sledgehammer to the classic car, bashing it time, Jessen had finalized financing for his first feature film, which he has written repeatedly. At that point an identical red Mustang drives up alongside her, driven and is attached to direct. by her estranged spouse. Indeed she is in need of a good body shop as a voiceover intervenes, extolling the virtues of Blake’s. Client Blake’s Auto Body Agency Jessen Productions, San “Sledgehammer” won assorted awards including an International Broadcasting Francisco Production Jessen Productions Jarl Olsen, director; Awards (IBA) Spike Trophy, Silver recognition from London’s Midsummer Festi- Chuck Jessen, executive producer/assistant director; Rivkah val, getting short listed at the Cannes Lions International Advertising Festival and Beth Meadows, production manager; Vance Piper, DP Visual gaining finalist status in the Clio competition. The commercial ultimately was syn- Effects MorbX, Grass Valley, Calif. Eric Fox, prop master/pup- dicated to 140 markets throughout the U.S. And “Sledgehammer” was also shown peteer Emaginate, San Rafael, Calif. Greg Baker, visual effects in cinema theaters in Germany. artist Editorial Ballistic Pictures, Berkeley, Calif. Doug Wer- by, editor Post Spy Post, San Francisco Chris Martin, colorist Emaginate Mike Brand, online editorAudio Post Ursa Minor Spot precedent Studios, San Rafael Robin Livingston, audio mixer Principal This is the eighth such spot writer/producer/director Chuck Jessen has licensed Actors Joshua Garcia, Kipp Glass, Melanee Nelson to the auto collision industry over the years, But “Naked Deer” marks the first time credits he has turned to someone other than himself to write and direct. “Deer” Sir: Getting caught in the headlights. Setting the precedent was Jessen’s longtime friend Jarl Olsen who wrote and directed this “deer in the headlights” storyline. At the time Olsen was freelanc- ing. He has since come aboard agency Carmichael Lynch in Minneapolis as a staff creative. Jessen served as executive producer and assistant director on “Na- ked Deer.” DP Vance Piper shot “Naked Deer” on 35mm film in a wooded section of Ridgeway Road on Mount Tamalpais in Marin County, Calif. Rivkah Beth Meadows was production manager on the job. Eric #,)#+(%2%4/6)%730/4 Fox of MorbX, Grass Valley, Calif., was prop master,

There are Three Steps to Reserve Ad Space Today: East/Midwest/Canada Creating Word of Mouth Buzz. Robert Alvarado 203.227.1699 ext. 15 Advertise in SHOOT’s [email protected] West Coast 1. 2. 3. Carl Gilliard June 22 ‘07 Issue July 20-Aug 16 Aug. 20-Sept. 13 818.763.2678 hiSpAniC ADveRTiSinG Special Double Issue Special Double Issue [email protected] TeXAS pRoDuCTion/ MiD-YeAR inDuSTRY AD AGenCY pRoDuCeRS International RepoRT CARD Roberta Griefer poST 203.227.1699 ext. 13 ADveRGAMinG/ AD AGenCY CReATiveS MuSiC & SounD [email protected] in-GAMe AD SToCk FooTAGe & pRoDuCTion MuSiC liBRARieS Recruitment/Classified STuDioS, STAGeS, [email protected] Cine GeAR eXpo SiGGRAph pRevieW pRevieW CASTinG, TAlenT Bonus Distribution: Bonus Distribution: Cine Gear Expo Siggraph Ad Deadline: June 15 Ad Deadline: July 13 Ad Deadline: August 9

June 8, 2007 SHOOT 13 iWork Nikon And McCann Worldgroup Turn A South Carolina Town Into Picturetown Interactive Campaign Aims To Take Intimidation Factor Out of Taking Great Photos

By Nicole Rivard Even pictures taken by regular people can be worth a thousand words. That’s what the residents of Georgetown, South Carolina, learned recently. As part of a new campaign for the Nikon D40 from McCann Worldgroup, NY, 200 residents were given the digital camera to discover how ordinary people like themselves could take extraordinary pictures. Overnight they were taking the best pictures of their lives, and their town was dubbed Picturetown. McCann and MRM Worldwide, (an interactive agency within McCann Worldgroup) captured some of the residents’ experiences with the cameras in the form of documentary-like films to post on a new interactive website, www. stunningnikon.com/picturetown. In addition to the profiles, the site provides a gallery featuring photographs taken by all 200 participants, a commentary sec- tion and a chance to win a Nikon D40. The campaign takes into consideration that it can be daunting for people who take pictures with a point and shoot digital camera to switch to a digital sin- #,)#+(%2%4/6)%70!'% gle-lens reflex camera. But because there are so many benefits—interchangeable lenses, faster speeds, more professional control over light, etc.—Nikon wanted to Mark Collins never misses a shot with the Nikon D40. take the intimidation factor out of the equation. The client also wanted to help people get over the intimidation that simply comes from the Nikon name. some of the photos Newsom had chosen to surprise the participants at the sugges- “It has always stood for superior imagery and photography and that’s a great tion of director Sam Bayer of H.S.I. Productions, Culver City, Calif., who shot the thing, but sometimes people make the assumption that a Nikon might be a little TV spot (that drives visitors to the site) as well as the web films. The participants too much camera for them because they don’t have professional or even pseudo were told they were attending a “party.” professional aspirations,” explained Larry Platt, senior creative director, Mc- In the :60 spot, viewers see the people walk through the door shocked to see Cann. “This is really about helping people get over that intimidation—the line their work on display. Bayer had three cameras rolling to capture the moment. that we use all the time is the democratization of great picture taking. That’s He brought a similar level of spontaneity to the table throughout the six-day really what we want the brand to stand for.” shoot, which strengthened the web films and the entire campaign. Georgetown provided a diverse cross section of people for the creative team “He was amazingly committed and passionate about the whole idea of help- to show that anyone could pick up the camera and be able to shoot, One of the ing people express themselves through better pictures,” said Platt, adding that challenges was also making sure there was enough of a diverse mix of people he had worked with Bayer previously on some MasterCard spots. “That idea profiled on the site. In addition, all 200 participants’ photos had to be looked at meant a lot to him as an image maker.” in preparation for the gallery section of the site. Decisions had to be made fast In the web films, the people profiled describe the features of the Nikon that to meet production deadlines. Ingrid Ducmanus, associate creative director, helped them take better pictures. Take Captain Mark Collins for example. He copywriter, MRM, described makes his living giving people an up close and personal look of the ocean they Client Nikon Agency McCann Worldgroup, New York Joyce King Thomas, the production as an “amaz- might otherwise never get through eco tours. Using the continuous shot mode, chief creative officer; Bill Oberlander, executive creative director; Larry ingly orchestrated process.” he’s now able to capture stunning wildlife moments that he used to miss with Platt; senior creative director; Tom Sullivan, senior creative director; Kathy The creatives set up a “pic- a point and shoot digital camera. After each profile, visitors have an option to Love, executive producer; Mike Boris, music producer MRM, NY Michael ture center” in the hotel they click on a link to find out more about the features mentioned as well as others. Jacobs, executive creative director; Ingrid Ducmanis, associate creative director, copywriter; Tom Newsom, associate creative director, art direc- were staying at where people In Collins’ case, we learn he was able to catch the action because of lightning tor; Chris Edwards, senior web developer;Craig Richards, director of tech- would bring in their pictures. fast autofocus and virtually no shutter delay. nology Production H.S.I Productions, Culver City, Calif. Samuel Bayer, Tom Newsom, associate cre- director/cinematographer; Annique DeCaestecker, executive producer; ative director, art director, Teamwork Suzanne Hargrove, producer Editorial The Whitehouse , New York Marc MRM, was in charge of going Because of the multiple elements involved the project, it would not have got- Langley, editor; Sam Puglise-Kipley, assistant editor; Lauren Hertzberg, through all the photos—there ten done without a true team effort early on as well as the efforts of McCann producer Post Production Company 3, NY Tim Masick, colorist Riot, NY

credits Tom McCullough, On line editor Audio Engine, NY Tom Goldblatt, Audio En- were some 40,000 of them. executive producer Cathy Love, according to Platt. “It was a logistically chal- gineer/Mixer Music Sibling, NY They also created a gallery lenging job,” he said. “She did an amazing job from the start.” in a storefront in town featuring The creatives from MRM set up a working prototype of the site prior to begin- ning the shoot. “We all had to be on the same page from day one during all the initial production meetings, scheduling, etc.,” said Newsom. “None of the website would have worked had the shoot actually happened before any of the web had Fast Forward been planned.” They praised MRM’s senior web editor Chris Edwards for his work on the site. Newsom explained that the site runs on Flash 9 but the contents are all on a backend that runs off XML. “So essentially every bit of text, every photo, every video is all stored elsewhere and the XML pulls all of that in. He literally built all of this in two-and-a-half to three weeks,” Newsom said. “He did a fantastic job. Ducmanus said the sleeper hit of the site was the commentary section. “We weren’t expecting the success of it,” she said. “It adds another layer. It’s real people responding to the photos of real people. I think it’s cool to have people …to Global ImageWorks communicating about the product organically.” We’ve got it, or we’ll get it. She also finds it satisfying that the project gave people a way to express them- selves artistically. “People were genuinely surprised and moved as they came in and saw what their town had done in six days,” Ducmanus said, referring to the impromptu gallery they created in town. “We did something real and true. www.globalimageworks.com / 201.384.7715 There were some people who we changed. They are interested in this way of HISTORIC • CONTEMPORARY • V I D E O • F I L M • H I D E F making art that I don’t think they would have been had this not happened.” 14 SHOOT June 8, 2007 AGENCY PRODUCERS

Talent Scouts

A circuitous route brought Laurie Malaga to Miami-based la comunidad Similarly, Malaga gravitated toward the then relatively unknown Per- some two-and-a-half years ago as staff producer. She is now the agency’s lorian Brothers to direct an offbeat Virgin Mobile project, based on some Ad Agency director of production. Malaga came over to la comunidad after having run work she saw from them in Canada. At that juncture, the Perlorians had a specialty boutique retail store, Ladybug & Chocolate, in New Orleans. She just joined Biscuit and have since gone on to gain critical acclaim in the di- relocated to Miami, coming aboard what many have come to regard as one rectorial ranks. (Recently the Perlorian Brothers joined Santa Monica-based Artisans Covet of the hottest creative ad shops in the Hispanic marketplace—despite her not Furlined for stateside representation.) speaking Spanish and never having worked before in Hispanic advertising. “A big part of my job is based simply on finding new talent, getting them at But in a strange way, that lack of typical experience enabled Malaga to bring the right time, while working often with challenged budgets,” says Malaga. Directorial a fresh perspective to la comunidad in that she had a storied background in “Sometimes you have to discover new talent in order to get the best director working with and nurturing talented young directors while running the mu- for a job that doesn’t have a whole lot of money but is strong creatively.” sic video division at the venerable, now defunct for seven This isn’t to say that Malaga hasn’t tapped into noted Hispanic direc- Discoveries years. Indeed as exec producer of music videos there, Malaga collaborated tors for la comunidad fare. She just wrapped a campaign for the El Hood with such directors as Michel Gondry, Dante Ariola, Stephane Sednaoui and online music site, which connects users with the performing artists. Two AJonathan Glazer early in their careers on clips for artists including U2, Bjork, of those virals were directed by Luciano Podcaminsky of Rebolucion, By Robert Goldrich Janet Jackson and The Red Buenos Aires, a well estab- Hot Chili Peppers. lished Hispanic director “When I first came to who is handled stateside interview [for the job at la by @radical.media. An- comunidad], I didn’t have other two viral spots were any strong feelings about directed by Nicolas Kasa- the agency,” recalls Mal- koff of Nunchaku Cine, aga. “Then I saw the reel Buenos Aires. and the creative was awe- The remaining El Hood some—it transcended lan- #,)#+(%2%4/6)%730/4 viral was helmed by Nel- guage. I had been at a place son Cabrera of bicoastal [Propaganda] where you HKM Productions. had to feel good about the La comunidad has work to do a truly good job. turned out noted creative And that’s what I felt was work for such clients as here at la comunidad. , Miller, Citibank, “It turned out to be kind VH-1 and MTV. For the of an advantage that I wasn’t latter, there’s the humor- coming at the work from a ously offbeat “Surgeon” conventional perspective,” #,)#+(%2%4/6)%730/4 (with English and Span- she continues. “I didn’t ish-language versions) in know the go-to Hispanic direc- Top row: MTV Latin America’s “Surgeon.” Bottom row: Dove’s Pro-Age campaign. which a doctor takes a break tors when I came here. I was a from prepping a patient on general market person. It came down to us trying to figure out who the best the operating title to recite a list of the most popular cosmetic surgical director was for a particular project and in some cases that meant us going procedures ranging from nose job to male enlargement. A super informs outside the traditional community of Hispanic directors.” us that MTV Latin America reels off its 10 most requested videos every For example, director Aaron Ruehl landed his third career spot assign- weeknight at 8 p.m. Viewers are asked to log in and vote on MTVLA.com. ment from la comunidad, a campaign for Mundoz, an MTV-like network de- “Surgeon” was directed by Jorge Colon of Letca Films, with offices in Mi- signed for the Latin teen market. This was back when Ruehl was at Area 51 ami and Mexico City. Films, Santa Monica. He shifted over to Über Content, Hollywood, where he Furthermore, la comunidad has also diversified into mainstream ad- later helmed some creatively inspired Virgin Mobile ads for la comunidad. vertising, counting Remy Martin among its general market clientele and (Ruehl has since joined Biscuit Filmworks, Los Angeles.) Continued on page 16 June 8, 2007 SHOOT 15 AGENCY PRODUCERS

Ogilvy, Element 79, la comunidad Share Perspectives

Continued from page 15 Pro-Age ward and once I saw Lars’ work, I knew recently getting a print campaign for For Larry Byrne, director of he was well suited for what we were try- the Katrina Foundation shortlisted at broadcast/production for Ogilvy ing to do.” (Grann and Knorrn are now the One Show. & Mather, Chicago, it’s been par- together at Warm and Fuzzy.) For Malaga, it all comes down to ticularly gratifying to work on the Byrne’s alluded to production making the right creative match with lauded Unilever/Dove campaign in house career experience was as ex- the proper director. And that match- which different perceptions and ap- ecutive producer at Ebel Produc- making is now expanding beyond preciation of real people’s beauty— tions, Chicago, from 1997 to ’01, Dur- the traditional broadcast spot to new not fashion model magazine cover ing his tenure there, Byrne served forms as reflected in the aforemen- depictions—are embraced. as president of the AICP’s Midwest tioned virals, as well as other projects Also garnering Byrne a measure chapter. Prior to Ebel, Byrne was a under discussion, and in the recent of satisfaction is uncovering directo- line producer and assistant director, hiring of Andrew Ivanoff as the agen- rial talent to dovetail with the right Laurie Malaga having come up through the ranks Larry Byrne cy’s director of interactive. Malaga creative, a prime case in point being which shows older women with in the locations and art departments and specifically the Gatorade ac- and Ivanoff are starting to collaborate the Dove campaign for its Pro-Age thick, full hair—yes, even full, thick during his 10 years of freelance work count on which he’s worked for the on varied new endeavors. line of products, including a spot gray locks can be attractive—and a on feature film work, TV series and past dozen years, including previ- tastefully photographed commer- commercials. He actually began his ously at Bayer Bess Vanderwarker cial showing mature females’ naked career on the agency side, as an as- and FCB Chicago.) bodies as beautiful. Accompanying sistant production manager at Leo Jaeger too is attuned to secur- each woman is a super which reads, Burnett, Chicago. Byrne first came ing the right directorial talent for “too old to be in an anti-aging ad.” to know Burnett as a high school a project, whether it be a broadcast Ultimately the spot relates to us that student when he was fortunate :30 or some new media form. Jaeger its message “isn’t anti-age” but rath- enough to land an internship there has produced some of Element 79’s er “pro-age,” observing that “beauty from its legendary, now late head of most high profile work over the has no age limit.” production Al Lira. years, from the Gatorade “Origins” Byrne secured director Lars After exiting Ebel, Byrne came campaign to the globe-trotting Knorrn who’s now with Warm and aboard Ogilvy in ’01. Since then, he “One World” and the “23/39” visu- Fuzzy, a startup working through has produced commercials for such al tour de force pitting NBA player Gang Films in Paris, to direct the clients at the shop as BP, Sears, and Michael Jordan against college star Pro-Age fare. After working with Miller Brewing over the years. At Michael Jordan (which was direct- renowned photographer Annie Li- Ogilvy, Chicago, Byrne oversees all ed by Joe Pytka of Venice, Calif.- ebowitz on the print side of the cam- broadcast and interactive produc- based PYTKA, with visual effects paign, Byrne looked at a full range tion—the latter working in concert by Digital Domain, Venice). Prior of filmmakers for the TV. with director of interactive produc- to Element 79, Jaeger was with “We wanted to reach outside, tion Jeff Brecker who reports to Fusion Idea Lab, Chicago, where to find someone special for this,” him. The current modus operandi, he had a hand in four Super Bowl relates Byrne about the director says Byrne, is for broadcast and in- spots for Bud Light over his four search. “We have a crazy bunch of teractive producers at the agency years there. evangelists around here. You have to to team on assignments, a recent be true to Dove. These real women example being the build a better gas are exposing themselves physically station site for BP, which features and emotionally, laying out who such content as broadcast depart- they are to us. We respect who they ment-produced webisodes. are and finding the right director for “Through these collaborations,” that is really important.” relates Byrne, “broadcast producers Byrne says Knorrn was indeed are building their interactive skill sets the right director. In fact Byrne in a and interactive producers are gaining tongue-in-cheek manner says he was in broadcast quality production.” a bit hesitant to identify Knorrn for SHOOT, hoping to keep the director “Is it in you?” to himself. “I think he’s headed for Continuing in the theme of dis- stardom as a director,” Byrne assess- covering new directors, consider a es of Knorrn, who presently doesn’t couple of recent promotions at El- Bob Jaeger have stateside representation. ement 79, Chicago, in which Tom Byrne said that during his many Cronin has been elevated to VP Now in his new Element 79 role years in the business—on both the and lead executive producer for with stewardship over production agency and production house sides the Gatorade brand at Element 79 for Propel, Jaeger notes that content of the industry—he has come to and Rob Jaeger now serves as the is still king. know “a great many people at pro- agency’s lead exec producer on the “If you have the content, they will duction houses all over the place. Propel account. come. I don’t care so much about You ask people you trust who do In this week’s SHOOT “Chat the platform because if you provide you have that’s special, that no one’s Room” feature, Cronin touches content consumers want, they will heard of yet, and you can come up upon the importance of opening up find it. But as new forms evolve, ev- with some interesting possibilities. new directorial options for Gatorade, eryone is part of the learning curve. That’s how we found Lars. Part of including exploring select European We’ll be looking to more and differ- my confidence in going with him filmmakers whose work reflects ent kinds of companies with savvy was my professional relationship an understanding not only of great in particular new areas. Yet by no over the years with his producer Ed- sports photography but capturing means does that preclude so-called ward Grann [who along with Knorrn the spirit of sport and the competi- traditional production companies was at Chased By Cowboys, Paris, at tive athlete. (See “Chat Room” for whose talent can encompass much the time]. I had a comfort level with Ed- Cronin’s reflections on the business more than commercials.” 16 SHOOT June 8, 2007

News

Three Houses Each Garner Four AICP Show Honors

Continued from page 11 Isaac Silvergate. Production Design category (pro- “Animals” for Ogilvy, New York, distinction in Copywriting for associ- Granger directed a Humor category Hungry Man’s quartet of honor- duction designer Gualter Pupo); which was honored in the Editorial ate creative director Jim LeMaitre of honoree: Combos’ “Videogame” for ees included three - Burger King’s “Manthem” which category (editor Chris Franklin of BBDO New York. TBWA\Chiat\Day, New York. And directed spots, each of which helped scored in the Musical Arrangement Big Sky Editorial, New York). Anonymous Content’s four honor- Combos’ “Fever,” also directed by him earn a DGA Award nomination category (arranged by Beacon Street Hungry Man’s fourth honoree was ees were: Levi’s Original 501’s “News Granger, earned a Copywriting earlier this year: “More Mayo” for Studios’ Andrew Feltenstein and FedEX’s “Responsibilities” directed Story” directed by Frank Budgen honor for TBWA\Chiat\Day writer Burger King in the AICP Show’s John Nau); and American Express’ by Hank Perlman, which earned for Bartle Bogle Hegarty, New York, which scored in the Production cat- egory (produced in association with Gorgeous Enterprises, London); Xbox 360 Gears of War’s “Mad World” directed by Joseph Kosinski for Mc- Cann Worldgroup, which gained recognition in the Visual Effects cat- egory (produced with Digital Domain, Venice, Calif.); Nike Golf’s “Swing” directed by Malcolm Venville for Wieden+Kennedy, Portland, which was honored in the Original Music category (from music creative direc- tor Dave Gold and composer Chris- topher Kemp of bicoastal Elias Arts); and Boots’ “Summer Rush” directed by Garth Davis for Mother, London, an honoree in the Advertising Excel- lence/International category. Quartet of threes There were four houses each gar- nering three AICP Show honors: bicoastal/international HSI Produc- tions, New York-based Psyop, Park Pictures, New York, and Motion The- ory, Venice, Calif. HSI scored in the Production cate- gory with JC Penney’s “Crazy Beauti- ful” directed by Paul Hunter for DDB Chicago, in the PSA category for Equal Marriage’s “Coaster” directed by Max Vitali for Y&R, Chicago, and in the Advertising Excellence/Next category for Smirnoff’s “Tea Partay” spoof helmed by Julien Christian Lutz for Bartle Bogle Hegarty. PSYOP’s trio of honorees consisted of: Coca-Cola’s “Happiness Factory” directed by Todd Mueller and Kylie Matulick for Wieden+Kennedy, Am- sterdam, which registered in the Vi- sual Style and Animation categories; and MTV HD’s “Crow” helmed by Marie Hayon and Marco Spier, hon- ored in the Graphic Design category. Park Pictures’ threesome was com- prised of: Cingular’s “Battle” directed by Alison Maclean for BBDO New York, honored in the Performance/ Dialogue or Monologue category; Nike Air Max 360’s “Defy” directed and shot by Joaquin Baca-Asay for Wieden+Kennedy, Amsterdam, which scored in Cinematography; and Diageo Captain Morgan’s “Cellphone” directed by Joachim Back for Grey Worldwide, New York, which registered in Sound Design (with Crandall Miller of The Whitehouse, Chicago, and Tom Gold- blatt of audioEngine, New York, as sound designers). Motion Theory’s honorees were: Hewlett Packard HP Hands’ “Phar- 18 SHOOT June 8, 2007 meticulously maintained custom camera packages Arriflex/Aaton/Panasonic Photo-Sonics 4ER+ rell” directed by Matt Cullen for by Bitstate for 72andSunny, El Se- Goodby, Silverstein & Partners, San gundo, Calif.; Rogue Creative, Lon- 35mm/16mm/DV/HD Francisco, in the Agency Art Direc- don, in the Animation category for accessories/support tion category (Pete Conolly, Stephen G4 Star Trek 2.0’s “Cribs” directed, lenses/speciality items Goldblatt); and HP Hands’ “Jay-Z” animated and edited by Dan O’Brien and “Shaun White,” both in the and Nick Litwinko for 72andSunny; filters/expendables. Graphic Design category. Motion The- The Directors Bureau, Hollywood, in call for details. ory’s graphic design artists on “Jay-Z” Sound Design (sound designers Dra- were Mathew Cullen and Kaan Atilla. zen Bosnjak and Slo Anzulovic of Q Cullen and Mark Kudsi were graphic Department, New York) for adidas 16 years design artists on “Shaun White.” Adicolor Podcast’s “Red” directed experience. by Roman Coppola and Andy Brun- Dynamic duos tel for agency Idealogue, New York; Serving the Both “Jay-Z” and “Shaun White” bicoastal/international RSA Films in midwest. were directed by Jonathan Dayton Musical Arrangement (Jeff Elmassian and Valerie Faris (Dayton/Faris) of of Endless Noise, Santa Monica), for Film and Bob Industries, Santa Monica. Bob Garmin’s “Moose” directed by Acne now digital. was one of three houses that came for Fallon, Minneapolis; Nexus Pro- away with a pair of AICP Show hon- ductions, London, for Coca-Cola’s orees—the other two being Furlined, “Video Game,” also in the Musical Ar- Santa Monica, and Egg, Cape Town, rangement category (Amber Music, South Africa. New York), directed by Smith & Foul- Arguably the biggest splash in kes for Wieden+Kennedy, Portland; this competition batch was made by House of Usher, Santa Monica, in Furlined in that for the first time the the Low Budget category, for adidas AICP Show instituted awarding for 1 Basketball’s “3 Courts” directed by a single honoree in the Advertising for TBWA\Chiat\Day, Excellence/Campaign category (as San Francisco; Hornet, New York, also implemented in the earlier cited also in Low Budget, for G4’s “Sand” Advertising Excellence/Single Com- directed by Peter Sluszka for BBDO mercial category), making it the best New York; Stink, London, in Adver- of show campaign. This lead honor tising Excellence/International, for went to Geico’s “Airport,” “Topic” Toyota’s “Humanity” directed by and “Therapy” directed by Will Speck Ne-O for Hakuhodo, Tokyo; and bi- and Josh Gordon (Speck/Gordon) for coastal/international @radical.media The Martin Agency, Richmond, Va. in Advertising Excellence/Next for “Therapy” was additionally honored Grey Goose Entertainment and Sun- in the Performance/Dialogue or dance Channel’s Iconoclasts, directed Monologue category. by Joe Berlinger and Bruce Sinofsky. And Egg was honored in the Agen- While the AICP Show evening gala cy Art Direction (Jeff Blouin) and PSA recognized all the competition cate- categories for MTV Staying Alive’s gories, the morning program featured “Fetish” directed by Brent Harris for the first AICP Next Awards, which Y&R, New York. recognized the three winners of the Among production companies to Show’s new category, Advertising produce single honors were: bicoastal Excellence/Next: @radical.media’s Epoch Films in the Visual Style cat- Iconoclasts; Smuggler’s “Still Free” egory for Nike Zoom LeBron IV’s for Ecko Unlimited; and HSI’s “Tea “Pool” directed by Stacy Wall for Partay” for Smirnoff. Wieden+Kennedy, Portland; Biscuit With key contributors to all three Filmworks, Los Angeles, in Perfor- Next category honorees on hand, the mance/Dialogue or Monologue for a.m. session delved into the work’s Holiday Inn’s “Unicycle” directed by creative genesis and strategy. A full Tim Godsall for Fallon, Minneapolis; rundown of ‘ 07 AICP Show honorees The Ebeling Group, bicoastal, for Mi- appears in our e.dition as well as on crosoft Zune’s “Monsters” directed www.shootonline.com.

schumacher CAMERA #,)#+(%2%4/6)%730/4 312.243.3400 Chicago www.schumachercamera.com Geico’s “Topic” June 8, 2007 SHOOT 19 NEW YORK

New York State of Mind This could prove to be a pivotal year for commercial production in New York. ally use additional staff to help administer the spot incentives and handle the Industry Weighs While there’s been a steady decline in spot filming in the Big Apple over the paperwork. While the AICP had proposed that such help be budgeted for the past decade-plus, finally there’s tangible cause for optimism as the state has en- state film commission, that allocation was not included in the final production acted an ambitious incentives package that specifically targets commercials. incentives legislation. Likely Impact Of Funded to the annual tune of $7 million, the New York State initiative offers But in the big picture, Kaufman thinks that a program tailored to the spot refundable tax credits of five percent for qualified expenditures upstate (on pro- production business is a major step forward. She said that although commercial duction costs in excess of $200,000 during the course of a year) and downstate producers were disappointed to see the New York State production incentives Newly Enacted (on expenditures that exceed $500,000), as well as a growth credit provision in legislation of a couple years ago cover only theatrical features and TV programs, which the refundable tax credit is 20 percent of qualifying production costs on in retrospect the exclusion of spots was probably for the best. She noted that fea- newly generated business (the amount of expenditure increase from one year ture/TV incentive language isn’t applicable to commercials on various fronts, Incentives to the next). citing as an example the requirement of stage filming in New York for a theatri- With viable incentives, many project that New York spot biz will enjoy a cal movie or television show in order for a shoot to be eligible for incentives. significant upswing. Yet there’s considerable paperwork to put into order, par- As chronicled in SHOOT, the Association of Independent Commercial Pro- Tticularly for those producers looking to qualify for the growth credit. Indeed ducers (AICP) played a lead role in lobbying for and helping to bring about applying properly for incentives calls for extensive planning in advance on the the new spot incentives program--believed to be the first such major initiative part of production companies. Some houses may find it necessary to hire people specifically targeting commercial production. The AICP worked closely with to keep on top of the paperwork and procedures. Kaufman’s office in developing the incentives package, which helps level the Indeed documenting growth in production expenditures from one year to playing field when comparing New York to other incentive-offering states and the next in New York in order to qualify for the aforementioned growth credit for that matter, countries. And it gives the Big Apple a competitive advantage can be a detailed, complicated task. During a panel discussion at the recent As- over California, still a spotmaking mecca, which has been unsuccessful in get- sociation of Film Commissioners International (AFCI) Locations Show in Santa ting filming incentive measures off the ground. Monica, Pat Swinney Kaufman, executive director of the New York Governor’s How will this advantage pan out in 2007 and beyond? SHOOT garnered Office for Motion Picture & TV Development, acknowledged the paperwork/ feedback from different sectors of the industry in New York as to how they documentation hurdle but added that the film office has experience working think the Big Apple’s newly instituted incentives program would impact their with production studio CFOs on New York’s already well established feature/ businessess--and the community in general. Will there be a ripple effect on the TV incentives package to make sure they are handling the paperwork properly. visual effects and post biz in New York? Is there still a need for a post industry- She reasoned that the film office can again prove helpful in this regard for the specific incentives program to make a difference to the postproduction industry commercialmaking initiative. At the same time, the film office itself could ide- in New York? Here’s a sampling of the responses.

Joe Masi Bob Cagliero Owner/EP Executive Producer Identity 89 Editorial, Inc. President, AICE NY Chapter Are you optimistic over business prospects in New York given the recent enactment of the Are you optimistic over business prospects in state’s incentive program for commercials? New York given the recent enactment of the Will it make a difference in how much pro- state’s incentive program for commercials? Will duction you do this year in New York? it make a difference in how much post or visual effects work you get, particularly if more New I am always optimistic, but I think that peo- York agencies stay close to home for their film- ple are shooting here regardless of the tax ing? incentives. They are a good thing to have and people should be educated enough on what needs to be done in order to qualify for the incentives. I The incentive program for commercials is a welcomed initiative that certainly don’t think it will make such a big difference. People come to New York shows promise in helping retain more production work here locally. Theo- for the look, feel and vibe of this city. When shooting on a stage in New retically, if agencies stay at home for production, there may indeed be more York it usually has to do with scheduling and the needs of the client and postproduction work here as well. agency on where to shoot. We find people do indeed start jobs out of our West Coast office following or during production and travel back East after a brief session with the director What was your most recent filming experience in New York (city or state)? during the initial stages of rough-cut. So with that being said, perhaps more What was the best thing about shooting in New York? work will start here. However, it seems too early to understand the impact this will have on production, much less postproduction. Ultimately and optimisti- We recently shot in on location. The best things about cally, we will get work from business that may have not thought of shooting shooting in New York are the locations, the crews, the talent pool and no in New York until now and that will also see merit in completing the project 405 [Freeway]! here as well. 20 SHOOT June 8, 2007 NEW YORK

Dominic Pandolfino York agencies stay close to home for production market. The only answer table of the production world will be a Managing Partner their filming? that made sense then is the same one plus, but as we said to Ms. Oliver in the Nice Shoes that continues to make sense today, early days of the Bloomberg adminis- A few years ago, some members of tax incentives. tration, tax incentives specifically for Are you optimistic over business pros- the AICE were invited to Nice Shoes Now that there are tax incentives the post world is the best tonic. pects in New York given the recent en- where we gathered to speak to Kath- in place for production, those of us in For those of us in the postproduc- actment of the state’s incentive program erine Oliver, the New York City Film the post world are being questioned as tion world who risk hundreds of thou- for commercials? Will it make a differ- Commissioner. We were hopeful to whether this will help us. I suppose sands, perhaps millions of dollars a ence in how much post or visual effects when the gracious Ms. Oliver asked us that as the step-child of the production year to stay current, there is only one work you get, particularly if more New what would help the New York post- world, whatever crumbs falls off the solution that we continue to ask for.

Ethel Rubenstein President/COO Blue Rock

Are you optimistic over business pros- pects in New York given the recent enactment of the state’s incentive program for commercials? Will it make a difference in how much post or visual effects work you get, par- ticularly if more New York agencies stay close to home for their filming?

We are hopeful that the new Com- mercial Production Tax Credit pro- gram in New York will have at least a “trickle-down” effect on our busi- ness. While the program directly benefits only the production com- panies, anything that brings more commercial shoots to New York can only be good for the postproduc- tion and visual effects companies as well. While runaway production has had some impact on our business, we have found that even in cases where advertising agencies have gone to Canada or South Africa or some other cheaper place to shoot, they have nonetheless elected to edit their spots here in New York. Not only is this more convenient for the New York-based ad agencies, it also benefits them creatively by giving them access to the greatest pool of creative talent available in the world. Incidentally, we feel that a logical next step for the New York State legislature would be to extend the tax incentive program to directly benefit New York’s postproduction companies, which are continually investing in new technology and equipment, as well as seeking out the new creative talent that makes New York the “big league” of post- production. June 8, 2007 SHOOT 21 NEW YORK

Are you optimistic over business pros- & Broadcasting is on a mission to Lisa Mehling find ways to make New York a viable pects in New York given the recent create a production-friendly envi- Partner/executive producer option for shooting and they have enactment of the state’s incentive pro- ronment and beyond the programs Chelsea Pictures made great contributions to the New gram for commercials? Will it make a that deliver real economic incentive York businesses. However, I have had difference in how much post or visual is a contagious customer service at- Are you optimistic over business a number of out of town agency cli- effects work you get, particularly if titude that NYC truly wants your prospects in New York given the re- ents say that the incentive won’t make more New York agencies stay close to business. The incentives comple- cent enactment of the state’s incen- a difference to them or their clients home for their filming? ment the outstanding animation, de- tive program for commercials? Will when the cost of staying in New York sign, editing and effects work being it make a difference in how much is so much higher than other cities- I’ve always been optimistic that produced in NYC and we’re gaining production you do this year in New perhaps the AICP and Mayor’s office work will be plentiful in New York momentum. Competing on exterior York? can come up with some incentives for Chris Byrnes City. The talent here has never been shoots will always be challenging to address this situation as well. President a secret and now that we have a film because not even this Mayor can I think its great that New York is CHARLEX commission intent on welcoming deliver consistent bankable weather finding new ways to support our busi- What was your most recent filming business, I’m incredibly optimistic. but for all indoor production activi- ness and the incentive sends a strong experience in New York (city or state)? The Mayor’s Office of Film, Theatre ties, NYC is a super strong choice. message to our community that New What was the best thing about shooting York City wants to support us. We in New York? love shooting in New York, and his- Are you optimistic over business pros- more jobs, better schools, roads and torically we shoot a lot in the city and We just shot Major League Baseball pects in New York given the recent community services, or so I like to we’d love to try and keep more of it lo- and prior to that a Mastercard cam- enactment of the state’s incentive pro- think. Our brand as well as our sis- cal, and the incentive will help a bit. I paign, both for McCann Erickson. gram for commercials? Will it make a ter company, Manic, may see a slight would also like to see more New York Mastercard was a five-day, multi-loca- difference in how much post or visual bump in projects from the city’s agencies and New York-based clients tion shoot and N.Y. offered amazing effects work you get, particularly if efforts, but I don’t foresee it to be commit to the city as well; it is often location diversity. We are big fans of more New York agencies stay close to anything too significant in the short up to us, the production companies, to N.Y.’s casting agents and talent pool, home for their filming? term. I’ve worked on the agency make New York cost competitive with and the agency was working against side and know that it’s all about our other cities. a tight deadline so the opportunity to We’re all optimistic that the “Made personal relationship with directors We have always found the Mayor’s keep everyone local played a signifi- in NY Incentive Program” will help and agencies, not where the shoot office to be committed to helping us cant part in meeting their ship dates. Dee Tagert facilitate increased production days location was. We’ve created an en- Executive Producer in NYC. Just for the city as a whole, vironment that’s conducive to the Jump more shoot days are great for the client being here during the entire John Semerad community, not just the advertising process, or remotely if their sched- President portion of it. More tax dollars equals ule doesn’t permit. Quiet Man

Are you optimistic over business pros- Are you optimistic over business pros- cited about. The tax credit is a half pects in New York given the recent pects in New York given the recent pregnant attempt, more of a com- enactment of the state’s incentive pro- enactment of the state’s incentive pro- promise then an absolute. It has a gram for commercials? Will it make gram for commercials? Will it make a cap with restrictions and the credit a difference in how much post or vi- difference in how much post or visual will not apply for every job, and not sual effects work you get, particularly effects work you get, particularly if everyone will benefit. I applaud the if more New York agencies stay close more New York agencies stay close to effort, but this is not a standing ova- to home for their filming? home for their filming? tion. I am not anticipating increased tain percentage will stay to do the board flow, but I hope I am myopic Often deadlines and such are so effects. With the added tax benefit, The New York refundable tax and wrong. New York should do tight, production, editing and effects more people from New York will be credits for spots is a disappointing for commercials what Connecticut are an overlapping if not simultane- inclined to stay in New York. And Rick Wagonheim attempt to increase opportunity. is doing for features, a 30 percent ous process. So the post and effects since you can get the same quality Partner/managing director There may be a minor increase for refundable tax credit without the are done in the same town if not of work in New York, more people RhinoFX the animation-visual effects com- small print. That kind of incentive the same building. As far as people will stay here and take advantage of munity, but not enough to get ex- guarantees a new business plan. coming to New York to shoot, a cer- the tax break. Does your SHOOT mailing label on the front cover say RENEW?

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Steve Caplan Refl ects On His Eventful AICP Tenure Setting Up Having joined AICP in 1998 and Camp At helping it to attain numerous goals, DDeterminingetermining If includingso, breakthrough SHOOT spot filming may stop coming soon, you need to update TODAY. incentive programs in New York and Riney, S.F. Los Angeles, executiveGo VPto Caplan WWW.SHOOTONLINE.COM/GO/RENEW By RobertNow! Goldrich b SAN FRANCISCO W h b WWhat’shat22 SHOOT’s June 8, 2007 News

Showcase Directors Get Production Co., Agency Feedback

Continued from page 1 how to hold the attention span of rector in the Showcase. In addition Monica; and Jonathan Bensimon event’s sponsors, including lead more, which was featured recently someone for four minutes. It’s a to the aforementioned directors in of Industry Films, Toronto. (Mini- sponsors harvest, Tool of North (5/11) in SHOOT’s “The Best Work whole different world and the cre- the panel discussion, that lineup of profiles of each director appeared America, the DGA, the West Vir- You May Never See” gallery. atives aren’t necessarily the experts talent included: Aleysa Young of in SHOOT’s 5/25 issue. To see the ginia Film Office and Pump Audio, The other directors joining him anymore. And when you can find Untitled, Toronto; Rob Luehrs of profiles and samples of the directors’ New York, and silver sponsors Ko- on stage were Geordie Stephens directors that understand story arcs, Reactor Films, Santa Monica; Three work, log onto www.shootonline. dak and Connecticut Film Division. from Tool of North America, Amy it’s a huge thing; they become a col- Legged Legs of Green Dot Films, com/go/newdirectorswebreel) Griefer also acknowledged 89 Edi- Nicholson of Hungry Man, Evan laborator in the project, even more Santa Monica; Don & John (a.k.a. torial, New York, which put together Silver of MTV Networks, Jeffrey than they do in the 30-second spot. Don Shelford and John Knecht) of Intros, reception the New Directors Showcase reel that Morgan (currently a producer at There are a lot of seasoned directors bicoastal/international HSI Produc- Welcoming attendees to the event was screened for the audience. Lead- Deutsch who recently made his fea- that don’t want to do it so there is a tions; Matt Fischman; Nir Bashan of with introductory remarks were rep- ing off the reel was director Stephens’ ture directorial debut at the Tribeca huge opportunity.” BeachHouse Films, Santa Monica; resentatives from the host Directors darkly comedic “Mobsters” for Keep Film Festival with the documentary Chad Einbinder; Tony Petrossian of Guild of America: Jean Frost, assis- California Beautiful. Lillie and Leander: A Legacy of Vio- Upward mobility Rockhard Films, West Hollywood, tant executive director of the DGA’s After the screening, sponsors Jamie lence) and Kirk Duffy who’s seek- There is also a significant op- Calif.; Jeff Aron Lable; Sean Mor- Eastern office; and commercial direc- Cope, location services manager of the ing a production house affiliation. portunity for new directors with the ris; Robbie Pickering; Ben Orisich tor Tim Abshire, who recently signed West Virginia Film Office, and Steven Stephens, who exited his creative mobile phone platform, Nicholson of HomeNYC; Javier Prato; TJ Hall with Big Lawn Films, Santa Monica, Ellis, CEO/founder of Pump Audio, director post at Crispin Porter + Bo- pointed out. “The next big thing that of greatguns:usa; Philip Boston of for spot representation throughout briefly addressed the audience. gusky, Miami, last year to focus on needs attention is mobile cell phone Alturas Redfish Films, Venice, Ca- North America. The panel discussion followed, after directing, shared how he got into ad- videos. The thing that I am waiting lif; Chamaco of Resistance, Venice, Abshire then introduced SHOOT which those gathered for the event vertising in a backwards sort of way. for that hasn’t shown up yet is the Calif.; Sophie Gateau of Paranoid publisher Roberta Griefer, who pro- went downstairs for a reception hon- He studied installation art in college, cell phone spec spot,” he said. “It’s US, Los Angeles; Leonel Fernandez vided an overview of and historical oring the directors. went to grad school for design and an entirely different venue that has of Big Mama, New York; Creature perspective for the Showcase, now The next page contains a photo fell into print advertising. He ended to be done in a different way—a lot of of Oil Factory, Los Angeles; Ben in its fifth year and its third at the gallery with coverage of all of the eve- up at Crispin where he worked with people don’t know how to do that. Grossmann of The Syndicate, Santa DGA venue. Griefer thanked the ning’s proceedings. some great directors and described “The size of those pictures, the himself as an annoying art director resolution and how you shoot them who would look over the shoulder are different than the way you shoot of every director he worked with. for TV. The aspect ratio is complete- Shooters Post & Transfer Adds Oberdoester He left the agency with a creative ly different, it’s vertical. This format reel, no directing reel, and Tool is a really interesting format and it’s PHILADELPHIA—Shooters Post & work. He returned to the Philadelphia “took a big chance” on him. going to take off. And those that Transfer has added veteran editor/de- market as senior editor on Body Sense, start to learn how to do it are going signer David Oberdoester. Oberdoes- a health and fitness show. After several Spec value to have a huge career as well.” ter has already lent design talent to a subsequent years as a freelance editor Speaking of giving new directors Regardless of the platform, Gold- new promotional campaign for sports and designer, Oberdoester joined Tele- a chance, spec work is certainly vi- farb advised the new directors that it network MASN, which covers the Bal- nium Communications Group in 2001, able when it comes to taking a leap is imperative that they give their own timore Orioles, Washington Nationals, helping to launch Synthesis. of faith, according to both Goldfarb voice to what’s happening in 2007. Baltimore Ravens and Georgetown Oberdoester’s dual talents as design- and Peter Nicholson. Goldfarb ad- “If advertising is anything, it re- Basketball. ”Our client base demands er and editor dovetail well with Shoot- vised that the best spec is work that ally depicts the pulse of our coun- editors who are not only great editors ers’ diverse services. is generated from an agency that the try, the pulse of what is happening but have strong design skills,” said Ray “As the entire industry continues to client did not buy for some reason. in our culture. While agencies may Carballada, COO of Shooters. “David David Oberdoester change so rapidly, companies need to She also pointed out that every hire you because you are easy to fits the bill and then some.” ing his first editorial job at Kennedy be much more than post production shot in the spec spot has to advance work with and you are hungry and Oberdoester, who was most recently and Lee, a production studio in York, houses now,” says Oberdoester. “In- the story. She has found that direc- you’re cheaper, what’s really im- art director/editor with broadcast de- Penns. From there, Oberdoester joined creasingly, they have to be able to pro- tors who are out on their own some- portant is you have a contemporary sign firm Synthesis, brings to Shooters the QVC Network, designing and edit- vide the full creative package, includ- times can be very indulgent when voice,” she said. a wealth of design and editing experi- ing commercials and helping define the ing top-quality motion graphics, design, they don’t have producers or agency “While we all have mentors and ence on numerous high profile broad- on-air image and branding of the On Q, effects, editing, as well as the strategic people helping them along through- directors that we think are great cast design and advertising projects. a sister network. When QVC launched thinking behind projects. Shooters out the process in terms of telling in our community, I think what I A native of Allentown, Penns., Ober- the Q2 Network and moved to Silver- provides the whole package to its cus- the story as succinctly as they can. look to and what I know our agency doester studied Telecommunications cup Studios in Queens, N.Y., Obedoes- tomers and I’m proud to be a part of the “Comedic specs stand out because friends look to are, How are you at Kutztown University, before land- ter became senior editor at the new net- team they are building.” it’s difficult to work with actors. The going to tell the story different and ability to get a really good performance how are you going to give me a fresh whether its spec or from a director new perspective?” who has been around 20 years—I love “Whether it’s a technique you Editor Herman Nieuwoudt Joins Splice Here seeing that,” Nicholson added. are using or shot selection or pure The discussion also revealed content, those are the things that MINNEAPOLIS—Splice Here, a Min- with a creative off-line edit as he is editor on ads for Mercedes, Ford and that nowadays it is advantageous if are going to separate you out from neapolis-based creative editorial/post with on-line, compositing visual effects Coca-Cola, to name a few. spec work shows what a directors the 1,200 directors that are current- facility founded by editor Clayton or incorporating graphics. He is often From there he moved to London creative chops are in terms of new ly out there,” Goldfarb concluded. Condit, has added 15-year veteran edi- involved with special effects projects where he maintained a successful free- media. “It’s the Wild Wild West now tor Herman Nieuwoudt to its roster. from pre-production to finish, includ- lance career for eight years working with what a spec spot could be. A 30 Screen time He joins editors Steve Fischer, Carl ing pre-visualization, shoot supervision, for Sky Television and OmniVision, an second spot is still great to see, but A capacity audience at the DGA Jacobs and Joe Martin. off-line and on-line editorial. His level of independent television production and a long-form webisode is good too,” Theatre—with large turnout from “Herman brings an unbelievable set expertise and versatility will be a huge post company based at the famed Pine- observed Nicholson. the agency and production house of talents to the team,” said Condit. “In boon to our clients.” wood Studios, and at numerous edito- He pointed out the challenge with communities—got a look-see at one his 15 years of international post pro- Nieuwoudt is originally from South rial/post houses. long form is that it’s not a linear for- piece of work, either a real-world duction he’s worked on an incredibly Africa and cut his teeth at the Johan- His current showreel includes work mat. “You need people who under- spot, a spec commercial or webisode, diverse range of projects –from ads to nesburg-based post house Video Lab. for Science Channel, Discovery Chan- stand story arcs, you need people or excerpts from a short, trailer or network branding and promotion to In just three years he worked his way nel, National Geographic as well as as- who understand ups and downs, longer-form content, from each di- long-form. He is just as comfortable up from the tape room to full-fledged sorted regional spots. June 8, 2007 SHOOT 23 3 1

2 4 photo SHOOT’s Fifth Annual New Directors 5 6 Showcase, May 23, 2007 op DGA Theatre, NYC

1 L to R: Event Welcome Committee Jean Frost, DGA Assistant Executive Director, Eastern Office; Tim Abshire, DGA Director, Big Lawn Films; SHOOT’s Roberta Griefer 2 Bonnie Goldfarb, Executive Producer/founder, harvest 3 L to R: Bonnie Goldfarb of harvest, Peter Nicholson of Deutsch and SHOOT New Directors Showcase directors Jeffrey Morgan, Geordie Stephens, Matt Helfgott, Kirk Duffy, Evan Silver and Amy Nicholson 4 L to R: Jamie Cope, West Va. Film Office Location Services Manager; Steven Ellis, CEO/Founder Pump Audio, SHOOT’s Bob Goldrich 5 Peter Nicholson, Chief Creative Officer, Deutsch 6 Showcase directors (clockwise from top left): Geordie Stephens, Matt Helfgott , Kirk Duffy, Evan Silver , Amy Nicholson and Jeffrey Morgan.

Remaining Photos: Directors, producers, creatives & industry guests mingle at the party after the screening and panel discussion

24 SHOOT June 8, 2007 CONGRATULATIONS News 2007 NEW DIRECTORS SHOWCASE FINALISTS (In Alphabetical Order)

Aleysa Young Kirk Duffy The Ebeling Group Expands Into Europe Amy Nicholson Leonel Fernandez LONDON—Bicoastal The Ebeling position by company head Mick Ebel- Ben Grossmann Matt Fischman Group is extending its reach into ing. Ben Orisich Matt D. Helfgott Europe with the launch of a London The Ebeling Group maintains a office. Alex Webster, whose former roster of directors and designers that Chad Eibinder Nir Bashan U.K. shop capacities included serving includes MK12, Nakd, Lobo, Convert, Chamaco as head of new business at Knuckle- Tennant and Bitstate. Teaming with Philip Boston head and deputy head of production Webster in the U.K is marketing di- Creature Robbie Pickering at MPC, has been secured to run The rector Gabrielle Lot, former editor Don & John Ebeling Group’s new London opera- of The Reel and head researcher for Rob Luehrs tion, after having been courted for the Contagious Magazine. Evan Silver Geordie Stephens Sean Morris Javier Prato Sophie Gateau CLASSIFIEDS To place classified ad simply email ad copy to: [email protected] Jeff Aron Lable Three Legged Legs Your reply will contain price estimate and PDF proof of ad for your review. Print classifieds run online as FREE bonus. For further info/rates/deadlines go to www.shootonline.com/go/classified T.J Hall Jeffrey Morgan EMPLOYMENT Jonathan Bensimon Tony Petrossian BOOKKEEPER: Well established Mid Town Man- To view the SHOOT New Directors Showcase Reel and interviews with each new director go online to: Medium-sized Post Production company hattan Audio Post Facility seeking seeks part-time bookkeeper. Must have an experienced audio designer in www.shootonline.com/go/newdirectorswebreel 5+ years of related industry experience NYC with a client following. Expe- and knowledge of QuickBooks. Reply to: rience in Advertising, Television [email protected] and Film is appreciated. Audio tools include Protools HD 7.1, DIRECTO New Directors Looking StudioCom, MCS3800, Focusrite EW R Red, Neumann, Sound Miner, N S For Commercial Work Final Cut Pro, APT, Zephyr, etc..contact T SH Visit O www.shootonline.com/go/ [email protected] O newdirectorswebreel I guarantee discretion. O W to view 2007 NDS Finalists. H

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June 8, 2007 SHOOT 25 News

Music supervisor George Drakoulias, best known for his feature fi lm work (Blades of Glory), has joined New York-based Search Party. Drakoulias’ signing comes on the heels of his successful collaboration with the Search Party team on Hammer and Coop, the six-episode online series created by agency Butler Shine Stern and Partners, Sausalito, Calif., in support of the 2007 Mini Cooper and Cooper S cars. Director Todd Phillips of Moxie Pictures di- rected the series, an homage to 1970s and ‘80s cop buddy shows.....Andrew Clarke has joined JWT New York where he will lead creative eff orts globally on Diageo’s Smirnoff . He comes over from Carmichael Lynch, Minneapolis. Kash Sree, who had been freelancing at JWT New York, now comes on staff to over- see creative on Unilever’s Sunsilk....Senior Flame artist Rachel Mills has returned to Golden Square Post Production, London, after nearly a year on maternity leave. She came to Golden Square in ‘03 from Glassworks, London....Editors Inome Callahan and Lee Gardner have joined Radium, the digital studio with shops in San Francisco, Santa Monica and Dallas. Callahan’s experience includes serving as editor at Mad River Post, San Francisco. Gardner had been freelancing, fre- quently working with Radium; earlier he was a staff er at now defunct Western Images. Callahan will be based in Radium’s San Francisco studio while Gardner works out of the Santa Monica offi ce....Kristin Redman has come aboard Detroit-based creative editorial house Start (a sister company to Universal Images) as executive producer. She previously served as head of production at Leo Burnett, Detroit.

Venice, Calif.-based visual eff ects studio Luma Pictures has secured Ezra Burke as sales rep for its commercial division. Luma’s 3D work has appeared in such feature fi lms as Crash and Ray. The studio is currently working on an automotive campaign with bicoastal/international @radical.media and TBWA\Chiat\Day....Cinematogra- phers Joshua Hess, Timothy Pike and Ross Richardson have joined The Skouras Agency, Santa Monica, for exclusive representation..... DP Alex Lamarque has joined Innovative Artists, Santa Monica, for representation and is currently available for commercials, videos and features....DP Jim Hawkinson has come aboard endeavor, Beverly Hills, for commercial, music video and feature representa- tion....DP Johnny Cliff has wrapped shooting in Jordan on Brian DePalma’s controversial fi lm about the Iraq war, Redacted, and is once again available for spot work via Partos Company, Santa Monica. Partos represents Cliff exclusively for fi lms, commercials and music videos....

>June 12-14/New York, NY: Promax. www.promax.tv >June 12-14/New York, NY: NY Festivals Intl. Advertising Awards. www.newyorkfestivals.com >June 17-23/Cannes, France: Cannes Lions Intl. Advertising Festival. www.canneslions.com >June 22-23/Los Angeles, CA: Cine Gear Expo. www. cinegearexpo.com >June 26/Miami, FL: Ad Tech www.ad-tech.com/miami >July 11-17/Santa Monica, CA: E3 Media Business Summit. www.e3expo.com >July 25/Los Angeles, CA: AICP Show. [email protected] >August 5-9/San Diego, CA: Siggraph. www.siggraph.org >Sept. 6-8/Kinsale, Ireland: Shark Awards. www.iapi.com

26 SHOOT June 8, 2007

Michele Ballard Brian Chidester Cary Gries Terry King Louis Lyne Detroit Dave Mariani Santa Monica Cindy Morin Steve Persin Dan Succarde 877.853.4183 www.griotedit.com Jim Talbot Griot Editorial is a division of Grace & Wild, Inc.

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