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Madhvani Directs Seb Edwards Gets “Man-Made Reckless And Machines” For Poignant For The Ambience Publicis British Army page 12 page 13

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION September 26, 2008 $6.00

Jaume Collet-Serra Comes Aboard Alturas Flipping Noted director reunites with recently Pushing The hired executive producer Roger Hunt The Switch: at production company known for handling feature filmmakers for select Part II ad assignments. Though Collet-Ser- Envelope, Please A SHOOT Staff Report ra’s roots are in spots and videos, he NEW YORK—In our Aug. 15-Sept 11 has since diversified successfully into Agency Producers Reflect On Their Emmy-Honored Spots issue, SHOOT canvassed production, long form, his latest feature being the post and VFX professionals about the thriller Orphan. pending transition to digital television See page 4 (DTV), including HD. We also report- By Robert Goldrich ed in that edition on the Association of Getting In On The Ground National Advertisers’ (ANA) white pa- Floor Of Cutting Room LOS ANGELES—”The envelope, please.” During the Creative Arts per titled “The Digital TV Transition: Cut+Run New York alumni Chuck Emmy Awards ceremony held earlier this month at the Nokia Theatre Production Implications for Advertis- Willis, Susan Willis and Mike Douglas in Los Angeles, there was the obligatory hush over the capacity audi- ers.” The white paper was prepared by launch Cutting Room Films. Editor ence for a brief moment until the presenter read out that this year’s the ANA’s Production Management Chuck Willis and exec producer Susan primetime commercial Emmy was going to Bud Light’s “Swear Jar” Committee and reflected valuable in- Willis are cofounders of the new ven- out of DDB Chicago. put from assorted sources including ture while editor Douglas is a compa- The enthusiastic applause, though, greeting that announcement was such organizations as the National As- ny partner. Meanwhile Cut+Run, with not obligatory as the spot had been screened earlier for the industry sociation of Broadcasters, the Ameri- shops in Santa Monica and London, is crowd, eliciting laughter and an ovation. can Association of Advertising Agen- slated to soon unveil its plans for N.Y. Furthermore the commercial made history, pushing the Television cies, the Association of Independent See page 4 Academy’s figurative envelope by setting two precedents—becoming Commercial Producers (AICP), and Karley & Graham Visit the first web spot to be nominated for and then to win a primetime the Association of Independent Cre- Emmy Award. ative Editors (AICE). SHOOT’s cov- SHOOT’s Chat Room Actually the original plan—as reported in this week’s “Chat erage ran under the “Flipping The DDB Chicago associate creative direc- Room” with DDB Chicago associate creative directors Jason Karley Switch” banner, which was the first tors Jason Karley and Galen Graham, and Galen Graham, the writer and art director, respectively, on “Swear installment of a two-part series. the core writer/art director team on Jar”—was for the commercial to possibly air during the 2007 Now in the second part of our cov- the primetime Emmy Award-winning Super Bowl telecast. But CBS rejected “Swear erage, SHOOT looks to the technolo- Bud Light commercial “Swear Jar,” Jar” in script form, leading to it eventually gies side of the biz, gaining feedback discuss the spot’s detour from the gaining initial exposure on the Bud.TV web on DTV and HD from key players in Super Bowl to the viral world, the entertainment channel and then an ongoing the hardware and software sectors. genesis of the concept, the selection of viral life all its own. Sprinkled in for some big picture per- director David Shane for the job, and So ironically television’s highest honor, spective (see sidebar) are execs from ® ATAS/NATAS the joy of Emmy recognition. the Emmy, was bestowed upon a spot that leading organizations the AICP, the See page 14 AICE, the Hollywood Post Alliance Continued on page 8 (HPA) and the Production Equipment Rental Association (PERA). Hawaii Series: The Aloha Continued on page 18 State Of Production Incentives And Infrastructure The Women Boost Spots On The Islands. Dove Enters Feature Film Arena With See page 15 By Robert Goldrich ‘06 with the viral spot “Evolution” less has done breakthrough creative Booth Luce play. The remake has a LOS ANGELES—With the passage of and then last year with the viral film work that has garnered much public- cast that includes Meg Ryan, Annette nearly 70 years, the remake of direc- “Onslaught”—has made a name for ity as well as assorted industry honors, Bening, Eva Mendez, Debra Messing, tor George Cukor’s classic 1939 film itself by taking to task the unrealistic a centerpiece example being “Evolu- Jada-Pinkett-Smith, Candice Bergen, The Women—this time with Murphy fashion model-like beauty standards tion” winning the Grand Prix in both Bette Midler, Cloris Leachman, Carrie Brown creator Diane English writ- that are being imposed on women in the Film and Cyber competitions at Fisher and Lynn Whittfield. The film, ing and directing—was bound to have today’s society. the ‘07 Cannes Lions International a Picture House release produced by some contemporary spins. But one Praised by some for tackling un- Advertising Festival. Jagged Films, premiered nationwide that wouldn’t have been readily antici- healthy stereotypes and critized by Now Dove has taken its initiative to in theaters earlier this month (9/12). pated is the involvment of Unilever’s others for exploiting the issue for the theatrical feature realm with The Asked to discuss Dove’s role in the

© Honolulu Film Office© Honolulu Film Dove brand, which—dating back to brand-building gain, Dove nonethe- Women, based on the famous Clare Continued on page 10

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spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Bill Melendez September 26, 2008 Volume 49 • Number 16 While a primetime and it struck me that his warmth, sweet- Melendez’s involvement even in- studios as United Productions of Amer- www.SHOOTonline.com commercial Emmy ness and decency were the same traits cluded his voice for the Snoopy char- ica (UPA) and Playhouse Pictures. And

EDITORIAL nomination for that made Charles Schulz’s classic, trea- acter’s laughs and sobs. According to in 1959, he directed the first animation Publisher & Editorial Director Coca-Cola’s “It’s Mine” is hard to top, sured “Peanuts” cartoon strip so popu- Melendez’s obituary in the Los Angeles of the “Peanuts” characters for a series Roberta Griefer 203.227.1699 ext. 13 [email protected] praise of another kind certainly ranks lar and appealing. Times, the emergence of Melendez as of spots promoting the Ford Falcon. for me personally. In this case the praise Melendez, his studio partner Lee the voice of Snoopy sprung from for- Melendez’s accomplishments in Editor Robert Goldrich comes in the form of a thought that Mendelson and Schulz brought the tuitous circumstance. Schulz said that animation encompassed working at 323.960.8035 ext. 6681 [email protected] first crossed my mind upon seeing “It’s “Peanuts” characters to life on televi- Snoopy couldn’t talk. So Melendez ex- Walt Disney Studios, contributing to

Contributors Mine” during this year’s Super Bowl— sion, helping to establish the format of perimented with making sounds that Pinnocchio, Bambi and Fantasia, as Christine Champagne that the spirit of the spot was Millie Takaki true to the classic Charlie Melendez’s warmth, sweetness and decency were the same traits that ADVERTISING Brown character as captured made the classic “Peanuts” cartoon strip so popular and appealing.. Sales Director, East/Midwest/Canada/Latin America Robert Alvarado in TV animation from the 203.227.1699 ext. 15 [email protected] great animator, director and producer the half-hour animated special of which suggested a voice and speeding them well as Mickey Mouse and Donald

Sales Director, West Coast/International Jose Cuautemoc “Bill” Melendez. the Charlie Brown shows were a pio- up on audio tape. He had assumed a Duck shorts. Meridith Riley Melendez died on Sept. 1 at St. John’s neering staple. The very first “Peanuts” professional voice actor would do a He later animated Bugs Bunny, 323.960-8035 ext. 6685 [email protected] hospital in Santa Monica. He was 91. special, A Charlie Brown Christmas final recording. But time ran short Daffy Duck and other classic Warner Advertising Production I met Melendez once, back when he (originally sponsored by Coke), won and Melendez ended up serving as Bros. characters. Gerald Giannone 203.227.1699 ext. 12 [email protected] maintained his animation studio, Bill both an Emmy and a Peabody Award. It Snoopy’s original voice, a role which Melendez is survived by his wife Melendez Productions, on Larchmont debuted on CBS and is now shown each the animator went on to play in a host Helen, two sons, six grandchildren Classified Blvd., just blocks from SHOOT’s current holiday season on ABC. of half-hour and hour-long TV spe- and 11 great grandchildren. Dona- 203.227.1699 ext. 12 [email protected] West Coast roost on the Raleigh Studios Melendez also had a hand in four cials, the Saturday morning TV show tions in Bill Melendez’s memory can SHOOTonline Directory Listings lot in Los Angeles. I also had the occa- “Peanuts” theatrical films (A Boy Named and the four feature films. be made to Children’s Hospital in Los 203.227.1699. ext. 14 [email protected] sion to do a couple of phone interviews Charlie Brown; Snoopy, Come Home; Melendez was also a spotmaking ar- Angeles, 4650 Sunset Blvd., #29, Los OFFICES Main Offi ce with him in subsequent years. Race for Your Life, Charlie Brown; and tisan. He was a director and producer of Angeles, Calif., 90027 (www.chil- 21 Charles Street #203 He was a warm, sweet, decent man Bon Voyage Charlie Brown). more than 1,000 commercials for such drenshospitalla.org). Westport, CT 06880 USA 203.227.1699 Fax: 203.227.2787 West POV 650 N. Bronson Avenue, Suite B140 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036 By Jeremy Warshaw

Circulation 203.227.1699 ext 12 [email protected] It’s So Yesterday

Editorial Production Manager/Reprints/Article Rights Michael Morgera About three days into the body of the beast as well as Duh, Ira never got a pre-pro book.” the powers that be. 203.227.1699 ext. 11 [email protected] before most shoots pages galore that list the caterer, the Am I alone in thinking that it’s time Now if this were to happen, we © 2008 DCA Business Media LLC. All rights reserved. No part of this publication may be reproduced, stored in any take place I lose my colorist and the absent creative direc- to change this practice? Let me throw could all feel just a teensy bit smug retrieval system, or transmitted, in any form or by any means, producer. And all the other serious, tor plus the address of the agency, the out at least a transitional idea so as not knowing that we’re doing our part to electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. hard working production folks around map to the stage and the approved to shock the system too much. Why be more green which would help us To Subscribe Go To the office go missing; I can’t find the script that is going to be read word for doesn’t the production company email in turn feel even more important as www.shootonline.com/go/subscribe production manager, her coordinator word including the video directions. all relevant contents to everyone and we set about our God given task to in- For Subscription Service Inquires Call: and you can forget about all the PAs. Can you imagine the weight of all their wife and then we’ll all turn up crease consumption of various goods 1.847.763.9620 I mean they’re still physically in the the paper from 15 pre-pro books, print- with to the pre-pro meeting, open our and services. If your mailing label says RENEW, then go to www.SHOOTonline.com/go/renew same zip code but their brains have er inks, and trips to Staples. And what laptops and gaze at the screen while **** and complete our online renewal form today. been taken over by “the system” and about the (wo)man-hours involved in we run through what we all need to Jeremy Warshaw is a director with

SHOOT (ISSN# 1055-9825) printed edition is published bi- they are now committed to a radically all the copying, formatting, late phone understand and obtain approval from The Observatory, New York. weekly except in July and August when published monthly) different kind of production that has calls with additional revisions, blah for $125.00 per year by DCA Business Media LLC, at 21 Charles Street, Westport, CT 06880. Printed periodicals postage paid at the square root of bugger all to do with blah blah. And now multiply all this Westport, CT and at additional mailing offices. POSTMASTER: Flash Back Send address changes to SHOOT, P.O. Box 2142, Skokie, IL the commercial we are about to shoot. by all the shoots you do and then by 60076-9505. These tightly-torqued production all the shoots your company does… September 26, 2003 Bob ‘n’ Sheila’s Edit World, the San Francisco USPS (06-234) folks are in fact working relentlessly well you get my point. shop launched in 1994 by commercial editors Bob Spector and Shei- For SHOOT custom reprints please contact Michael and against the clock to produce It’s kind of ridiculous and strikes la Sweeney, is slated to close Sept. 30. The decision to shutter was Morgera 203.227.1699 ext. 11 or email to: mmorgera@ made despite the fact that the shop continued to be profi table, ac- shootonline.com the all important pre-pro book. And me as a monumental waste of energy when finally it is finished, bound and and resources that maybe, just maybe cording to Spector and Sweeney.....Director Anouk Besson, former- SHOOT >e.dition published weekly except in January, July, August, and December when three-times per caressed into shape, another 15 cop- is symbolic of the way we produce ly of bicoastal Epoch Films, has come aboard bicoastal Celsius Films month. ies of this classic will have to be rep- commercials right now. We are oper- for exclusive spot representation in the U.S.....Production compa- SHOOT is produced in the U.S.A. licated. (Like most classics this book ating as if we are unaware of shrink- nies Zero 2 Sixty, New York, and Comotion Films, Atlanta, have en- SHOOT is a member of will never be read cover to cover.) But ing margins, the earth’s precious re- tered into a joint marketing and production partnership...... it’s a beautiful thing. First you’ve got sources and the declining impact of some lovingly created client logo that the 30-second spot. (This order can be September 25, 1998 For bicoastal/international Propaganda adorns the front of the binder and that re-arranged to suit your priorities.) Films, an Independent state of mind means facilitating spot oppor- only the PM has the skills to do, and I can’t help feeling that the client tunities for a select group of feature fi lmmakers.....Director Vadim the pretty tabs with colorful numbers is sitting there at the pre-production Perelman is about to join Atherton, the bicoastal shop headed by on them which have been three-hole meeting and this thought bubble president/executive producer Julie Atherton....Peter Berg, best punched into submission. And we comes over his head, “Oh this is why I known for portraying Dr. Billy Kronk on the CBS drama Chicago haven’t even got to the vital content am paying $175,000 per shooting day Hope, has signed as a director with Tool of North America, Santa inside. Here there are various photos when my cousin Ira’s wedding video Monica, for exclusive spot representation. and images that have been formatted cost $4,000 including the editing. September 26, 2008 SHOOT 3 News

People & projects Director Jaume Collet-Serra Joins Alturas Films’ Roster By Robert Goldrich prior to his coming over to Alturas. feature filmmakers for select adver- Over the years Collet-Serra has di- After breaking in with The End, SANTA MONICA—Director Jaume Collet-Serra has also made his mark tising projects. However, as earlier rected spots for assorted clients such Collet-Serra shifted his commercials Collet-Serra—who at one time went by in feature filmmaking. He just came alluded to, Collet-Serra’s roots are in as Sony PlayStation (including “Seals affiliation to bicoastal/international the Jaume moniker in the commer- off of directing the Joel Silver-pro- short form. Online” for TBWA\Chiat\Day, Los Partizan in ‘00. He then joined Believe cials world—has come aboard Alturas duced thriller Orphan, which is slated He actually broke into the business Angeles), Budweiser, AOL, Master- Media in ‘05. Films, the Santa Monica shop under for a 2009 release. as an editor, and then transitioned to Card, Miller Lite, Pontiac, Smirnoff Collet-Serra said that he signed with the aegis of president/executive pro- The director and Silver have a track directing music videos and later diver- Ice, Renault, Verizon, 7Up and Delta Alturas Films because of both Rawl- ducer Marshall Rawlings, for exclusive record of collaboration. Upon seeing sified into commercials. Air Lines. Continued on page 11 spot representation. Collet-Serra’s stylized, surreal and The move reunites Collet-Serra often dark work in the advertising with Roger Hunt who recently joined arena, Silver hired him to direct House Cut+Run Alumni Launch Cutting Room Alturas as executive producer. Hunt of Wax in 2004. This marked Collet- has collaborated off and on with Col- Serra’s feature directorial debut. NEW YORK—Key players in Cut+Run, assembled there. spot, was at press time about to em- let-Serra over the years, first during Since then, Collet-Serra’s love New York, have bought the Man- As for Cutting Room Films, it hits bark on a Honda job. the director’s earliest commercials for football took him back to his na- hattan shop, turning it into Cutting the ground running with largely the Exec producer Willis said she is en- Room Films. The buyout puts former same talent, location and infrastruc- thused over the prospects of continu- Having wrapped Cut+Run editors Chuck Willis and ture that was in place at Cut+Run, ing “to build on the success we created Mike Douglas as well as executive New York. over the last few years with all of our the feature Orphan, producer Susan Willis in charge of In addition to Chuck Willis and editors here in New York as well as the Collet-Serra returns to the newly christened Cutting Room. Douglas, Cutting Room Films’ roster talent we’ve added from the London Douglas becomes a partner in the of editors include Jon Grover, Joel office.” spotmaking via Alturas. new venture along with its founders, Miller, Chris Hellman, Merritt Duff That success at Cut+Run, New Chuck and Susan Willis. and TG Herrington. York, includes major ad campaigns via now defunct production company tive Spain to helm Goal2! Living The Meanwhile Cut+Run continues Miller and Grover recently came over the years for such brands as Mas- The End where Hunt was head of pro- Dream, a feature which recently hit to maintain its bases of operation in over from Cut+Run’s London office terCard, Bank of America, adidas, Lip- duction and then executive producer. the big screen in the U.nited States on Santa Monica and London. Cut+Run and now shift from Cut+Run, New ton, Pizza Hut, Verizon, Subaru, GMC, More recently as a freelancer, Hunt a limited run. founder/editor Steve Gandolfi said his York, to Cutting Room Films. Miller Mercedes-Benz, the New York Lottery, produced several commercials for After Orphan, Collet-Serra now company will soon be releasing details just wrapped two international cam- Continental Airlines, Sharp, Ford and Collet-Serra at bicoastal Believe Me- returns to commercials via Alturas about its new Manhattan location and paigns for Sharp while Grover, who Saturday Night Live. dia, which was the helmer’s ad roost Films, a company known for handling the leadership team and talent being recently cut MasterCard’s “Elephant” Continued on page 11 Arnold, Director Joshua Seftel Ask Sound Lounge M&SD For A Year Of Your Time Strays Into New Territory By Robert Goldrich NEW YORK—Sound Lounge Music & able network of tastemakers, labels, NEW YORK—In PSAs created Sound Design (SLMSD), New York, has bloggers, journalists, managers, law- by Arnold Worldwide, Boston, entered into a partnership with artist yers, store owners, radio programmers directed by Joshua Seftel of management and licensing company and promoters. This network keeps Redtree Productions, Boston, Stray Dog Music, Brooklyn, N.Y., to them plugged into developing scenes and broadcast by Comcast, form a music supervision unit. all over the world. “By the time SPIN viewers will get the chance to Partners/ Magazine is talk- see the good being done by producers Erik ing about the the young volunteers of City Steinert and Axel new scene in In- Year who dedicate a year to Niehaus launched diana, we already community and country as tu- Stray Dog in 1996 have The Black tors, mentors and role models #,)#+(%2%4/6)%730/4 as a production Diamond Heavies who transform children’s lives. City Year’s “Anthem” and artist develop- and The Giggles The spots feature City Year and this is what I wear.” We see of its three-year, $27 million ment company. in our catalog,” corps members—17-to-24 a group of youngsters in uni- commitment to City Year is the Over the years, said Steinert. year-olds from diverse back- son zip up their red City Year donation of airtime that will Stray Dog has Niehaus noted grounds—in meaningful mo- jackets. And then the camera show the PSAs nearly 2,400 evolved into a mu- that Stray Dog ments that convey the power- shows the back of that jacket, times on Comcast networks. sic licensing firm has “never com- ful impact they have as young carrying the City Year logo. The Seftel brought his documen- due to its relation- Axel Niehaus (l) and Erik Steinert pleted a job that people engaged in citizen website address cityyear.org tary chops to the campaign, ships with artists and ability to cultivate ended with the same music it had in service. Each PSA carries the also appears. chronicling the work of City and identify new talent. Niehaus and the brief. They always seem to travel City Year tagline “give a year. “The more you learn about Year volunteers. The DP was Steinert have worked on production for between styles, genres, licensed vs. change the world.” City Year, the more you are Giorgio Scali. assorted artists including Alicia Keyes, composed, iconic vs. indie...our value The centerpiece “Anthem” inspired by the energy, pas- The Arnold team included Stevie Wonder, Carly Simon, The Roots, is in the ability to deliver quality mu- spot shows the volunteers sion and optimism that shine CCO Pete Favat, creative direc- P-Diddy and Mary J. Blige. sic, quickly, whether it is a huge iconic decked out in their red City through everything they do,” tor/copywriter Hayes, creative “Axel and Erik bring an added di- hit record, an indie band about to ex- Year jackets, juxtaposed with said Arnold creative director director/art director Andi Bird, mension to the creative services at plode, an original piece of music com- stock footage of historic fig- Brian Hayes. “We hope these art director Chris Geraghty, SLMSD,” said Sound Lounge partner/ posed by one of our in-house compos- ures who have been faces of new ads convey this and moti- copywriter Matt Kaiser, pro- sound designer Marshall Grupp. “The ers, or even a new custom song by one positive change, including vate more young people to get ducer Chris Perry and assistant ability to offer expert music supervi- of our many indie bands and writers.” Mahatma Gandhi, Dr. Martin involved in the program.” producer Reaghan Puleo. sion and licensing allows us to accom- Recent credits for Stray Dog include Luther King, Cesar Chavez and The ads will be broadcast Editor was Shondra Burke modate the needs of both our adver- a Buick campaign via Digitas and proj- Mother Theresa. A young vol- nationwide by Comcast, a City of Red Tree. Post facility was tising clients as well as the feature film ects for Nike and American Express. unteer declares, “I am change Year corporate partner. Part Brickyard VFX, Boston. and television series communities.” SLMSD is a sister brand to New York Stray Dog Music has created a size- audio post house Sound Lounge. 4 SHOOT September 26, 2008

News

Messina Enters Spot World With Bang Short Takes

NEW YORK—Mateo Messina, a Los ner Lyle Greenfield cited the depth and TEAM SAATCHI WRAPS PARALYMPICS ANTHEM Angeles-based composer best known breadth of Messina’s musical experienc- Director Luke Scott of RSA, editor Cyril Metzger of Cut+Run, Lon- for his lauded underscore to Oscar- es and interests as providing him with don, and Sir Paul McCartney himself contributed to an emotion- nominated director Jason Reitman’s “the complete palette for film scoring ally stirring 60-second spot—“Superheroes” out of Team Saatchi, hit film Juno, has linked his talents and of every kind. And his energy is simply London—designed to help studio with Bang Music, New York, for next level. We’ve already begun working fundraising eff orts for the all commercial compositions. together on a major ad project .” U.K.’s Paralympic athletes. Messina gains deeper production sup- Headed by Greenfield (who is also McCartney lent his iconic port and a broader platform worldwide president of the Association of Music song “Live and Let Die” to via Bang. Conversely Bang garners—and Producers), partner/composer Brian the project which shows a provides the ad world access to—a lead- Jones and executive producer Brad series of Paralympic athletes ing composer whose work spans fea- Stratton, Bang provides original com- in action. tures (Juno as well as Reitman’s Thank position, soundtracks, licensing, radio McCartney explained the You For Smoking), television (NBC’s (L to r): Greenfield, Stratton, Sr. production and sound design. circumstance that drew him The Office) and spots (including scores Producer Sara Iversen, Messina Through its partnerships with to the campaign, relating, “I for Intel, AOL, VW, Microsoft and the phonies and commissions, Messina has Los Angeles-based Studio 8 Sound, met leading Paralympic dressage rider Sophie Christiansen and Sundance Festival). written for and conducted orchestras, composer Espen Noreger’s studio in was completely blown away by her skill, dedication and the fact Most recently he finished work on a rock bands, a 200-member children’s Stavanger, Norway and Air-Edel/Cut- that she had won a gold medal for Britain, so I felt I had to do some- commission from the NFL—an arrange- choir, a collegiate drum line as well as ting Edge Studios in London, Bang thing. My suggestion was simple. Why not create an ad that would ment of Led Zeppelin’s “Kashmir” the intimate ensembles he’s deployed offers music supervision, ADR, Foley, highlight the work of Paralympics GB and call on the British public which Messina conducted and per- in several feature films. sound editorial and mastering glob- to donate much needed money?” formed live with Alice In Chains and Messina has earned several honors ally. Bang’s New York facility houses Editor Metzger described the footage as “beautifully directed members of the Northwest Symphony over the years, including a Best Score three recording studios, including a in terms of content and emotion, all the images were so arresting Orchestra at halftime of the Seattle Sea- Award at the Festival Tous Courts in surround mix and mastering suite. that the drama wrote itself.” hawks home season opener earlier this France and an Outstanding Score Bang’s ad work spans such clients Team Saatchi creatives were Adrian Borra and Julian Borra with month (9/14). Award at the One Reel Film Festival as Mercedes-Benz, Victoria’s Secret, Laura Mueller serving as producer. As a film composer, Messina views in the States. The latter was earned on Heineken, Mountain Dew and Mc- Jan Richter-Friis was the DP. his role as that of a “storyteller,” helping the strength of Messina’s work on Terra Donald’s, as well as promos for MTV, directors and producers move their nar- (‘03), the former for The Freak (‘02). ESPN and Comedy Central. Further- AMERICAN SOCITY OF CINEMATOGRAPHERS’ rative forward through sound. “I believe Both Terra and The Freak are short more, Bang has successfully diversi- HERITAGE AWARD DEDICATED TO BUD STONE viewers should feel the music more films directed by Aristomenis Tsirbas. fied into longer form (TV series Shear The American Society of Cinematographers (ASC) has dedicated than hear it,” he related. In his sym- Bang creative director/founder/part- Genius, Real World and Scrubs). the 2009 Heritage Award to the memory of Burton “Bud” Stone, who was president of Deluxe Laboratories for 18 years. ARTISANS The organization has simultaneously issued a call for entries in the 23rd annual Heritage competition for undergraduate, gradu- Hoytyboy Signs Director Robert Maya ate or recently graduated fi lm school students. The deadline for submissions is November 1. The Bud Stone Heritage Award will be SAN FRANCISCO—Director/camera- Still roots I’d rather let nature be my art direc- presented to one or more recipients during the 23rd Annual ASC man Robert Maya has joined Hoyty- Maya began his career as a photog- tor.” Maya cited a recent shoot for Ford Outstanding Achievement Awards on February 15 in Los Angeles. boy Pictures for exclusive commercials raphy student at NYU, splitting his involving the lensing of deer in a for- Inaugurated in 1999, the ASC Heritage Award has been dedicat- representation in the U.S. Maya, who time between shoots and the rental est. The point of the spot was to show ed to the memory of a diff erent cinematographer each year. This is continues to be repped throughout house where he worked. He then as- just how quiet and close to nature a the fi rst year that the award will be dedicated to the memory of an Canada by Mad Films, Toronto, comes sisted the famous still photographer Ford Hybrid could be. Maya said that extraordinary individual in the fi lm industry who was not a DP. aboard a Hoytyboy directorial roster Bruce Weber for two years in the a number of the directors bidding for Stone died on April 18 at the age of 80. that consists of Steve “Spaz” Williams, early 1980’s. Maya resisted getting pi- the job proposed shooting the spot in Richard Kizu-Blair, John Kricfalusi a controlled environment like a zoo. “I PEOPLE IN THE NEWS and Rob Schneider. didn’t want to do that with the deer, Bicoastal Lost Planet has named editor Kim Bica a company part- Clint Goldman, executive produc- preferring to work with nature.” ner. Bica is based in Santa Monica and joins editors Paul Martinez, er/principal at Hoytyboy Pictures, has Among the factors attracting Maya Charlie Johnston and Geoff Hounsell as partners. The group of edi- followed Maya’s career for some time. to Hoytyboy were the work of its direc- tors will continue to work closely with owner/editor Hank Corwin, There’s a connection with Williams tors and the shop’s expertise in com- and executive producers Betsy Beale (Santa Monica) and Alec Sash in that both he and Maya have been bining the worlds of live action and (New York). Bica regularly cuts commercials for such directors as represented via the aforementioned computer graphics. Errol Morris and Tarsem. Her recent work includes Cisco’s “Anthem” Mad Films. Hoytyboy has been active with directed by Tarsem and an American Express “Members Project” “When we started Hoytyboy,” re- a mix of spot work for the U.S. and spot directed by Martin Scorsese....Editor Jamaal Parham has called Goldman, “Robert [Maya] was international markets. Williams just joined the roster of Chemistry, New York. He is particularly known always someone that we wanted to wrapped spots for Trix (out of Saatchi for the music and rhythm-based style that helped earn Fatboy represent in the States, and finally, just & Saatchi, New York), Dirol (McCann Slim’s “That Old Pair of Jeans” recently, we had a chance to sit down Moscow), Juicy Fruit and Beeline an MPVA Award nomination for and discuss representing him through Robert Maya (BBDO Moscow), Mirinda (BBDO, best electronic video. Parham, Hoytyboy. Pictures. I was always sur- geonholed as a fashion photographer. Dubai), Montana’s (BBDO, Toronto), who’s been active in both clips prised that he had not really been “I started out doing lots of cosmetic AT&T (Bravo Group in Miami), and and spots, had most recently repped seriously stateside prior con- work, but wanted to tackle as many Diet Dr Pepper (Y&R, San Francisco). been freelancing after starting sidering that he lives here in Miami genres as possible,” he related. Kizu-Blair’s recent endeavors include out at bicoastal Final Cut....Rob and is such a gifted director/camera- The director believes his strong Toyota (22 Squared, Atlanta) and Guenette, currently president man with great passion about the art technical background helped him Chrysler (BBDO Detroit). Kricfalusi of agency Taxi Canada, be- of commercial filmmaking.” expand into storytelling, comedy and (of Ren & Stimpy fame) is working on Kim Bica comes CEO, responsible for all Goldman added that Hoytyboy Pic- dialogue work. “I’ve always had a a large series of webisodes for an un- Taxi offi ces in Canada and the U.S. Additionally Ron Wilson, now tures hopes to expand Maya’s artistic very organic filmmaking sense,” he disclosed client while Schneider’s di- CFO, adds to his current role the title and responsibilities of COO, and creative palette to include a bit related. “I understand strobes and rectorial feature debut, Big Stan, has overseeing each of Taxi’s six offi ces.... more visual effects work. lighting, but when given the chance been released internationally. 6 SHOOT September 26, 2008 Director Jonathan David Comes Aboard TWC For Commercials

SANTA MONICA, Calif.—Director David’s last company affiliation was creative with a humorous twist that ries about people as they try to adapt shouting one. Performance, visuals Jonathan David has signed with TWC, bicoastal Go Film. Prior to that he was tell stories that are accurate about who to what’s around them. It’s the same etcetera, he has a deep skill set of sto- Santa Monica, for exclusive spot rep- at bicoastal/international MJZ. His we are and how we behave. Of course, with good films. I’d like to see more of rytelling abilities and he brings them resentation. The announcement was current reel includes work for HSBC, there is no accounting for taste, but I that careful observation in the work to the table in many different genres. made by TWC managing director/ ESPN, Comcast and Nokia. prefer humorous moments that make I’m involved in.“ Jonathan David is that special kind executive producer Mark Thomas. A documentary director who people think in a subtle way about oth- Thomas observed that David “tells of director that likes new challenges David joins a company directorial started his spot career by winning a er people and their state of affairs.” stories that are like little movies, his and continuously pushes himself to roster that includes Brain Baderman, pair of Cannes Lions right out of the David added, “I think the genre passion for real filmmaking and at- meet them.” Sebastien Chantrel, Trevor Cornish, box, David said he’s looking for subtle of comedy is coming back to a more tention to detail are evident in his TWC is represented by indepen- Jeff France, David Jellison, Justin comedy about people and “the unpre- sophisticated level. Look at what’s on entire body of work. His spots make dents Mary Ford & Associates on the Klarenbeck, Matt Murphy, Alex Ogus, dictable situations in which they find television. Whether people are watch- you smile and compel you to think, East Coast, Doug Stieber & Nichole Suthon Petchsuwan, Bo Platt, Hamish themselves with others. I like to shoot ing The Office or Entourage, Weeds which are rare attributes. He knows Tinaglia in the Midwest and Kelley Rothwell, Eric Saarinen and Selby. carefully observed, character-driven or 30 Rock, they are looking for sto- how to whisper a joke, as opposed to Class on the West Coast. Shout It Out Loud Extends Its Reach Into Original Music Company Incorporates A&R Approach For Commercials, Signs 11 New Bands To Its Talent Roster

NEW YORK—Best known for its ex- Garcia brings years of experience in Brooklyn., N.Y. record label in terms of development The SIOLM team also includes pertise in music supervision and li- original composition, music supervi- • Eagle Seagull—chamber pop from by taking our bands to a higher level producer Leigh Hurwitz, engineer/ censing for commercials, Shout It Out sion and licensing for commercials Lincoln, Nebraska. with promotional initiatives. We exert sound designer Jeff Slutz and sales Loud Music (SIOLM) is ramping up its and feature films. He also functions in • Belaire—indie/new wave from a lot of energy towards band promo- rep Kamila Prokop. They approach services to include original music—a an A&R capacity with recording art- Austin, Texas. tion, whether it’s directly pitching for each assignment by asking clients natural evolution and extension of the ists by discovering emerging talent, • Shout Out Out Out Out—electro/ a project or harnessing our connec- what kind of emotional response they SIOLM brand. organizing music events and releasing punk rock from Edmonton, Canada. tions to get the band’s music in front want to evoke. Capturing a feeling can Music supervisor/composer Fran- compilation CDs. • Spain Colored Orange—psychedel- of the advertising industry.” be more effective and stronger than cis Garcia and feature film composer/ “We have deep roots in the music ic/indie rock from Houston. SIOLM’s initial work includes citing the sound of a specific band. songwriter Andrew Hollander head industry, born from an indie music • Cheyenne—Americana from tracks for an Olay spot and the en- Upon discussing the creative direction the year-old company. The work of pedigree and a genuine passion for Brooklyn, N.Y. tire musical packaging for Nicktoons’ internally, they then target the right these two New York-based composers music,” related Garcia. “We’re down • The Antlers—shoegaze/avant pop upcoming Saturday Morning block specialized talent for the job. spans the worlds of advertising, feature in the trenches, regularly attending from Brooklyn, N.Y.. of comedy programming, which in- “Supplementing our arsenal of films and records. They have created shows and researching new music, so • Scorpion Child—classic rock n’ roll cludes Catscratch, Teenage Robot traditional composers with current tracks for commercial campaigns on discovering talent is a completely or- from Austin, Tx.. and Ta k . Recent marketing initiatives recording artists elevates our creative behalf of AT&T, American Express. ganic process for us. • Anamanaguchi—NYC power pop include a SIOLM-hosted party at the process,” concludes Garcia. “There’s Olay, Fuse, Reebok, Verizon and a Wes “Our A&R-type approach to com- performed with a modified Nintendo record industry’s SXSW (South by an energy level and chemistry that a Anderson-directed spot for Dasani. mercial music allows us to utilize our game system Southwest) Music Conference, which band gets from making records and Hollander’s credits include the fea- vast network of bands, artists and • And Floormodel—downtempo attracted hundreds of music lovers, playing shows every night. When a ture films Waitress starring Keri Rus- composers for licensing opportunities, electronica from Los Angeles and Co- as well as advertising, film & TV and project demands a specific music di- sell, Serious Moonlight” starring Meg as well as original compositions.” logne, Germany. record label professionals. SIOLM also rection, employing a band from that Ryan, and The Photographer, which SIOLM has recently signed 11 acts “Stylistically, our bands run the curated a 16-track CD compilation of particular scene lends an air of au- screened at the Cannes Fest and fea- to its roster: gamut,” added Garcia. “We try not artists, including MSTRKRFT, The thenticity. Our main role is to act as a tured Maggie Gyllenhaal. • Walter Meego—electro pop from to be too genre-specific, which is Blakes, White Rabbits, Tigercity and creative partner and conduit between Former Elias Arts/New York head Los Angeles. complementary to our existing mu- Rhett Miller, for the February issue of the bands, artists, ad agencies, record of music supervision and composer • Tigercity—disco/pop rock from sic library. We tend to function like a HARP Magazine. labels and publishing companies.” Frantic Films Opens Branded Content + Commercials Division

TORONTO—Animation/effects/ Museum for Human Rights, and the Content+Commercials, with oversight whose background is as a designer/ live-action house Frantic Films has Canola Council of Canada. from Frantic’s overall chief executive illustrator/animator. launched Frantic Branded Content Frantic VP/exec producer Jeff Peel- Jamie Brown. The Frantic Films family also in- + Commercials, a multi-disciplinary er related, “As advertisers shift away The latter, who received the inau- cludes a traditional film and television production facility that specializes in from high-priced 30-second creative, gural Lionsgate Innovative Producer division, creating factual and dramatic creating original integrated entertain- the relationship and dependence on Award at the Banff World TV Festival, television series, as well as feature ment content for use across traditional experienced producers who can also is known for the creation and develop- films. Til Debt Do Us Part, which airs and emerging media platforms. act as creative partners will continue ment of content for a varied mix of in Canada on Slice Network and in With offices in both Toronto and to increase. Frantic can be that part- Jeff Peeler specialty channels. the United States on American Life, Winnipeg, the studio has a track re- ner...helping our clients and agencies be distributed in numerous ways in- Meanwhile Peeler has helped as well as in the U.K. and Asia, is a cord of working cooperatively and cre- create effective content for this new cluding traditional broadcast, online, brands such as Wal-Mart, Verizon, lifestyle program in which a finan- atively to deliver high-quality, deep- form of advertising.” wireless, and digital out-of-home. MTV Worldwide and Monsanto build cial wizard helps save debt-stricken impression content and advertising The Frantic Branded Content + Frantic is currently in development awareness through long and short- families and failing marriages. And solutions for brands, agency partners, Commercials team creates targeted on a 10-episode network television form advertising and other forms of Frantic’s Guinea Pig, which airs on and entertainment outlets. Frantic’s entertainment programming for in- series that not only features an actual promotional fare. Discovery Channel in Canada, the projects include traditional broadcast tegrated advertising, including televi- advertising agency at its core, but also And Gan served as an advertising U.K., and Germany, and Viasat in Eu- television series, feature films, docu- sion series, short and feature films, brings an advertising brand to the agency producer in Canada for DDB, rope, follows an unflinching host who mentaries, and branded content for animation, digital advertising, as well forefront of each episode. Ogilvy, Lintas and McCann Erickson. acts as the subject of extreme science clients such as the Discovery Chan- as traditional television commercials. Peeler and executive producer Wai Another key player in the Frantic experiments that test the limits of the nel, Slice Network, The Canadian These original content solutions can Pheng Gan head up Frantic Branded mix is creative director Bill Stewart human experience. September 26, 2008 SHOOT 7 AGENCY PRODUCERS

Agency Producers Off er Insights Into Challenges Faced And

Continued from page 1 tured felt reel and the office situations Keramidas who described the spot’s was first intended for TV but never hold your interest.” title character (“Brother of the Bride”) made it there. Shane was at bicoastal/internation- as “a well meaning guy who makes a al Hungry Man at the time he directed lifetime of faux pas in one afternoon Challenges, reflections “Swear Jar.” (Shane has since moved at a wedding. He’s well meaning but For further backstory on “Swear over to production house oposi+ive, can’t help himself. He says the wrong Jar” as well as the other Emmy-nom- New York.) “David puts everything things at the wrong times—yet he also inated commercials, SHOOT checked he’s got into nailing performances. has to make the transition as an actor in with the agency producers on these There are exhaustive callback ses- to delivering at the end of the com- projects for insights into the challeng- sions. He’s never satisfied,” said St. mercial a heartfelt message to his sis- es each job posed as well as for per- Clair. “And that helped us elevate ter. You have to cast a guy whom you sonal reflections on the significance of Will St. Clair‘Swear Jar’ to the spot it became.” Tom Keramidas like from the beginning. And when the Emmy honor. office staffers, causing bleeped-out St. Clair also credited Anheuser- ing competition as prestigious as the he says the wrong thing, you hurt Will St. Clair, VP/ executive pro- expletives to fly out of the mouths Busch for “letting us take creative Emmy Awards,” he said, “reaffirms for him. You feel for him. You aren’t ducer at DDB Chicago, and agency of employees and executives alike all risks for entertainment value. To have the value of good storytelling and how laughing at him.” producer on “Swear Jar,” observed, over the workplace. a client that will hold hands with you well crafted commercials have come Keramidas added that director “I don’t know if it [the Emmy] would For St. Clair, the biggest challenge and go there—recognizing the value of to be considered today just as valid a Pytka and the advertising agency qualify as populist recognition but it is was to not rely too heavily on the cheap entertainment—is tremendous.” piece of entertainment as the televi- ensemble had the luxury of having definitely recognition from the enter- laughs inherently in the concept. “Swear Jar” topped a field of Em- sion programs themselves.” two minutes to tell the story. (The tainment community. And as recogni- “There’s always a prurient interest in my-nominated spots this year that As for the spot’s biggest challenge, spot debuted during a Hallmark Hall tion that reflects entertainment value, cussing,” he said. “We all laugh at stuff also consisted of Hallmark’s “Brother Keramidas cited casting, noting at the of Fame presentation; at press time, a the Emmy is quite an honor. As an like that anyway. But we couldn’t rely of the Bride” directed by Joe Pytka same time that there was consider- 90-second version was being wrapped agency, as a producer, as a creative— on that too much as a crutch. of Venice, Calif.-based PYTKA for able comfort knowing that Pytka was for exposure elsewhere) we’re all striving to meet that enter- “The thrust from the beginning ,” Leo Burnett, Chicago, and three directing. “He’s a masterful storyteller “We needed the full two minutes to tainment standard. We know that to he continued, “was to find a director commercials produced by bicoastal/ who handles dialogue so beautifully,” do justice to the character and to follow get the eyeballs, the attention and any- who would put emphasis on perfor- international MJZ: FedEx’s “Carrier said Keramidas. “His instincts on the arc of the story,” related Kerami- thing that translates into what a client mance and creating vignettes that Pigeons” directed by Tom Kuntz for casting and performance are so true. das who added that the other luxury needs, you have to entertain.” would come across to an audience— BBDO New York with visual effects While he doesn’t shoot tons of takes, afforded him and his colleagues was The spot’s premise centers on an of- to the point where the viewer would from Framestore, New York; Travelers’ everything he gives you is usable in so to have a client like Hallmark. “There fice setting up a “swear jar” into which imagine a little bitty story about each “Delivery” directed by Rupert Sand- many ways.” are so few accounts that value this money will be put each time someone of the people in the vignettes. That’s ers for Fallon, Minneapolis, with visual Still, casting was of paramount con- kind of storytelling—emotional with at work swears. The funds collected why we went with David Shane as the effects by Mass Market, bicoastal; and cern. “We knew casting would make real dialogue that affects people.” will be used to buy Bud Light for the director. The performances he cap- Coca-Cola’s “It’s Mine” helmed by or break the commercial,” affirmed Nicolai Fuglsig for Wieden+Kennedy, Portland, Ore, with effects done at The Mill, New York. “Brother of the Bride” Tom Keramidas, VP, content ar- chitect at Leo Burnett, served as pro- ducer on the agency’s Hallmark spot “Brother of the Bride.” “Sitting at the Emmy Awards show on Saturday night, the cliche was true for me—it was an honor to just be there and to have had our work nominated,” related Keramidas. Bud Light’s “Swear Jar” “To be recognized in a non-advertis- Hallmark’s “Brother of the Bride”

8 SHOOT September 26, 2008 AGENCY PRODUCERS

Overcome On Their Emmy-Honored Commercials

“Delivery” The enormous bumbershoot proves shoot practically, the better off we per Bowl but then later on an Emmy Kate Talbott, executive producer at handy in helping people he encoun- would be”—proved to be key in the Award nomination is about as good as Fallon Minneapolis, is no stranger to ters in the course of the adventures success of “Delivery.” it can get.” the circle of Emmy nominees. they share along the way. “We had a 20-foot umbrella prop Meanwhile Hunnicutt noted that In recent years, work she’s pro- For Talbott, an Emmy nomination built,” said Talbott. “You can’t fake Coke’s “It’s Mine” posed varied major duced at Fallon has garnered three is unlike any ad industry honor. “Ev- that. It was real and it made the spot’s challenges, perhaps the most daunting Television Academy nominations, erybody knows what an Emmy is. If I adventures real.” being, “This wasn’t just any parade. It the first in 2004 for United Airlines’ tell someone we’re nominated for an was the Macy’s [Thanksgiving Day] “Interview” and then in consecutive Emmy, they know what that is. It’s Wieden, BBDO Parade which people hold near and years for Travelers’ “Snowball” and recognition that’s great for everyone Earlier this summer, SHOOT gar- dear to their hearts. We made sure we now “Delivery,” a whimsical, charm- involved and it breaks outside the in- nered the reflections and recollections were there for the parade to not only ing :60 that follows a dapper man tot- dustry into the mainstream.” Kate Talbott of Wieden+Kennedy senior producer shoot that day but to absorb the magic ing a huge, larger than life umbrella. Talbott noted that her major chal- lenge was limited time to bring such Matt Hunnicutt on Coca-Cola’s “It’s and make sure it was captured and re- an ambitiously creative commercial Mine” and BBDO New York executive flected in the commercial.” to life. VP/executive producer Elise Greiche By virtue of being at the parade, “This involved a major time on FedEx’s “Carrier Pigeons.” Hunnicutt added that he and his crunch,” she said, “but that’s when Both these Emmy-nominated com- agency colleagues as well as director you look to the professionals to come mercials debuted during this year’s Sanders all got “a better understand- through for you.” Super Bowl telecast ing of how these balloons move.” She cited assorted contributors, in- To briefly recap, Greiche said that And of course the character bal- cluding her DDB colleagues, director perhaps her biggest challenge on loons (Charlie Brown, Underdog, Sanders, his spot production house “Carrier Pigeons” came from it being Stewie) were key. “We were working roost MJZ, and production services/ on the Super Bowl. with The Mill and directing these CG support company Cherokee Films in “You want to do a great ad for the balloons,” said Hunnicutt.. “If the bal- Auckland, N.Z. biggest stage of all,” she related. “You loons don’t work, if their authenticity Talbott said that the philosophy want to create compelling work and is questioned for one moment, then adopted by Sanders and the creative content for the client. And then to get the spot fails and the power of the Travelers’ “Delivery” team—which was “the more we could not only a great response after the Su- idea is lost.”

LEAVE YOUR PASSPORT, BRING YOUR ODYSSEY

September 26, 2008 SHOOT 9 News

Dove Collaborates With Diane English HD Essentials

Continued from page 1 Nelson share their experiences cre- no such advertising agency involve- project, Kathy O’Brien, Dove’s market- ating The Women and The Women ment in The Women. ing director, related that the brand’s Behind ‘The Women,’ respectively, Dove’s O’Brien said, “The produc- FCC Hits The Road relationship with The Women “pre- through weekly diary entries posted ers of the film approached the brand An ambitious educational initiative on the transition to DTV might spur a sented partnership opportunities both on Dov.com/TheWomen. English with a compelling opportunity to spoof of a standard song. The new lyrics might be something along the on screen and behind the scenes.” gives readers a perspective from the partner with a film being created by lines of “I’ll be FCC’ing you in all those old, familiar places.” On the former score, O’Brien noted director’s chair while Nelson goes be- women, reminding us that our circle Indeed the Federal Communications Commission (FCC) will take a that there was “product placement hind the scenes of the film to educate of friends is an influential and impor- lead role in a road tour to approximately 80 markets across the United and integration within the film.” She her peers about a wider definition of tant factor shaping our views of beauty States. Each stop along the way will feature a public event in which one explained that “Dove worked with the beauty, helping to foster positive self- and succcess.” of the FCC’s fi ve commissioners will appear in order to help raise aware- film’s director Diane English to inte- esteem among a younger generation O’Brien continued, “The goal of ness about the Feb. 17 switch from analog to digital television. grate Dove Campaign for Real Beauty of women. the partnership is to apply multiple The list of markets to be visited consists of those where more than messaging into the script dialogue to Furthermore, English and pro- promotional opportunities to engage 100,000 households—or at least 15 percent of households—rely solely engage women in discussions about ducer Victoria Pearman appeared in a women in discussions about real on broadcast television. real beauty and self-esteem.” Dove ad featured on the back cover of beauty through the programs created Washington, D.C., and most of the nation’s largest cities are currently September’s issue of Reader’s Digest. in partnership with The Women.” on the FCC’s itinerary. Table of content The ad represents the power of female Dove’s involvement was first report- Timed to the tour stops will be increased exposure for public service O’Brien added that the brand’s re- friendships. English and Pearman are ed in SHOOT late last year (11/2/07), announcements informing the public about the transition and what altionship with the film also created long-time friends who worked togeth- based on backstory provided by Lori needs to be done in order to ensure households get uninterrupted TV an oportunity to develop exclusive er to finish The Women, a project they Sale—who at the time was head of service when the digital transition hits. content, available on Dove.com/The- pursued and finally brought to frui- global branded entertainment at In- Households reliant on analog signals must take one of three steps to Women, including: tion over a 13-year span. ternational Creative Management continue receiving TV signals once DTV takes hold: buy an anlog-to-dig- • The Women Behind ‘The Women.’ Additionally, Dove held a couple of (ICM)—during a panel discussion at an ital converter box; buy a new, properly equipped TV set; or subscribe to Dove worked with English to create sweepstakes related to the film—one in industry conference in Beverly Hills. cable or a satellite service. this short film that folows teenage which website visitors could enter to (Sale has since gone on to become journalist Cammy Nelson behind win two tickets to the red carpet pre- head of artist marketing at talent and Up A Creek With HD the scenes of The Women. The short, miere of The Women; the other for literary agency Paradigm.) A small spring-fed creek near Ennis, Mont., is having a big impact in which highlights the work and people tickets to regular screenings of the film During the panel session, Sale wildlife habitat recovery. A new HD documentary about the O’Dell Creek involved in making a major motion pi- (100 pairs of tickets were awarded). said that ICM sought out Dove for Headwaters Restoration Project is set to show the world how a wetland octure come to life, encourages wom- The Women. She noted that financ- drained for over 50 years can make a remarkable comeback. en to challenge today’s beauty stereo- Genesis ing can be hard to come by at times The combination of a Sony HDCAM, a 40:1 zoom range (from a por- types and to empower one another to While the aforementioned virals for female-themed films, but ICM saw table EFP lens), Canon Optical Shift Image Stabilizer (“Shift-IS”) technol- be their best. “Evolution” and “Onslaught” were The Women as being simpatico with ogy, and high defi nition imagery from the Canon HJ40x10B telephoto • Dual diaries. Both English and created by Ogilvy Toronto, there was the Dove brand. EFP lens empowered veteran fi lmmaker Dickson Sorensen to capture the story of an extraordinary group of people working to help restore one of nature’s creations. A noted feature fi lm and commercial cinematographer, Sorensen, and his co-producer Jeff Laszlo, documented the stream’s restoration in ru- ral Montana for more than two years, capturing it all in 720/30p high- defi nition footage. “I started recording what was going on when I realized that this was a much bigger and more complicated project than I had originally envi- sioned,” Sorensen related. “There’s a lot of wildlife out there, but you just can’t get close enough to photograph it. We were lucky to have the Canon HJ40. Without its tele- photo capabilities and image stabilization, we never would have been able to record what we did.” Director of Photography What the pair recorded were remarkable close-ups of many bird spe- cies in their natural habitats, including Bald eagles, Great Blue herons, Sand Hill cranes, and the elusive sora, which frequents freshwater marsh- es. Sorensen and Laszlo also captured dramatic footage of elk, Whitetail Glynn Speeckaert, SBC deer, antelope, muskrats, and many more species. “There were two important aspects of this lens for shooting O’Dell Creek,” noted Sorensen. “Number one is that it’s a very long lens, capable of zooming in very tight. Number two is the built-in stabilizer. Without a stabilizer, in order to get a decent image on a long lens you need a heavy recently wrapped the feature tripod, a good camera head, and an extremely stable platform. But with film “Je suis parti de rien” Canon’s built-in stabilizer, I was able to get on top of my truck – which shakes in the wind – zoom all the way in, and – like magic – the shimmer- ing stopped and I got rock-solid images. “This makes it ideal,” he continued, “for recording wildlife, where you’re and is once again available in remote areas and you need to travel light. The HJ40 is light enough to for commercial and music video be easily carried around in the fi eld. In addition, the ‘bracketry’ is solid and well-designed, including a sliding balance plate; this made chang- work in los angeles ing lenses in the fi eld an easy task to accomplish.” ****

Contact SHOOT editor Robert Goldrich with HD-related news and developments at [email protected] or (323) 960-8035. 0\&\ 777$$!4!,%.4#/-

10 SHOOT September 26, 2008 Chuck & Susan Willis, Mike Douglas Launch Cutting Room Films

Continued from page 4 Little Caesar’s “Focus Group” for Cliff well as Bank of America’s new identity “Monkey” spot. producer at BBDO NY, Susan Wil- While their prime niche is offline Freeman and Partners, N.Y., Pepsi’s campaign. Before Cut+Run, he edited And Cutting Room Films’ exec lis produced for clients such as Pepsi, editorial with a significant focus on “Boy In A Bottle” out of BBDO New at Mackenzie Cutler, New York, work- producer Susan Willis co-founded Sierra Mist, M&M Mars, FedEx, Frito advertising, Cutting Room Films’ edi- York, and Nike’s “Frozen Penny” via ing on such lauded fare as Snickers Cut+Run, N.Y. She is currently pro- Lay, Visa, Office Depot and Pizza Hut, tors works across all forms and formats Wieden+Kennedy, Portland, Ore. “Not Going Anywhere For Awhile?” ducing Alicia in Africa, a documen- garnering awards and recognition in- including traditional broadcast, theat- Cutting Room partner Douglas campaign and numerous Super Bowl tary for Alicia Keyes’ charity Keep a cluding a Bronze Lion, and a London rical features, documentaries, virals, recently cut projects for Mercedes as commercials, including E*Trade’s Child Alive. Before that, as a senior International Award. and webisodes. The company will also deliver visual effects, sound design, and online services to support its core editorial efforts. A Powerful Tool for PR, Marketing Pro’s, and the Chuck Willis is president/owner of Entrepreneurs for Communicating to a Hard-to-reach Vertical Market Comprised of Cutting Room Films. He has cut spots Customers, Prospects, and Influential Industry that have won assorted honors in such Decision-makers and Industry Journalists while publicity wire competitions as the Cannes Lions In- Focusing on Ease of Use, Flexibility, Speed of ternational Advertising Festival, the Delivery, Audience Coverage, Archiving, and Cost-effectiveness as the Key Benefits. www.SHOOTonline.com/go/publicitywire AICP Show, the London International Awards, Clio, ADDY and ANDYs as well as an Emmy nomination. Prior to co-founding Cut+Run, New York, in One of a kind. ‘05, Willis had a hand in starting sev- eral editorial and post shops, includ- ing Crew Cuts, Quiet Man and Buzz. Worldwide. Among his notable editing credits are The Publicity Release Distribu- tion Service for the Advertising, A Targeted Real-time Online Video, News and Information Filmmaking Release Distribution and Service. Targets Delivery Television of Publicity Releases to Production and Critical Vertical Market Postproduction While Establishing Your Industries. Release in Vital Industry "Database of Record"

Chuck Willis

Collet-Serra The Publicity Wire Offers Digital RSS Feeds, Opt-in To Alturas Distribution, In-site Promo, Archiving & Indexing, Search Engine Optimization (SEO) to The Publicity Wire Delivers Direct Access to a Increase the Visibility of Your Continued from page 4 Global Marketplace in North America, South News, Boost Your Search ings’ and Hunt’s depth of experience America, Europe, Eastern Europe, Africa, Asia, Engine Rank and Drive Australia, and the Middle East and The Far East. Traffic To Your Web Site. with feature film directors, and the production house’s ability to attract choice high caliber creative concepts Copyright 2008 DCA Business Media LLC. All rights reserved. in the advertising sector. The director noted that now “doz- What To Expect From The Publicity Wire ens of spots and three feature films > Price per release of just $49.95 includes: No hidden fees; No base word limit; No membership fees; Web photo/logo & Hyper- later, I feel I can bring a lot more to the links; Article html text and email, and print versions of releases included table than ever before.” > Choose date/time your release goes live; Editor "Quick Review" of text and graphics; “Smart Links” to drive web traffic to your Executive producer Hunt had most site or page to play video included. recently been freelancing. Prior to that > High visibility via headline placement on SHOOTonline.com homepage and SHOOT >e.dition; Global Distribution via digital he was exec producer at New Reality, RSS feed, guaranteed publication of release head/abstract/graphic in opt-in Brand New[s] (now over 7,000 opt-in subscribers Hollywood. Hunt cut his filmmaking powered by shootonline.com), Search Engine Placement & Optimization (SEO). All releases are fully accessible to all SHOOTonline teeth in London, primarily producing visitors (38,000 uniques per month avg*) from a highly visible landing page within SHOOTonline.com. The Publicity Wire archives music videos. are searchable and accessible for 2 years to all users of SHOOTonline.com. Releases are organized by category, date, and fully key Next Hunt moved stateside, serving word searchable. as an executive producer and line pro- Who gets your Publicity News? ducer on music videos and commer- Everyday the list grows of Producers, Directors, Editors, Creatives, and Management Decision-makers and others at the motion cials at director Tony Kaye’s former picture companies, ad agencies, networks, TV stations, movie studios, and websites you want to reach. West Hollywood studio. (Kaye is now with bicoastal Supply & Demand.) Judge us by the company[s] we keep Hunt then came aboard the End in To view the rapidly growing list of the companies who get SHOOT Publicity Wire Publicity Releases Guaranteed... Go online to ‘95 as head of commercial production. www.shootonline.com/go/publicitywire

Shortly thereafter he was promoted to *Source: Google Analytics First Half 2008 The SHOOT Publicity Wire is powered by shootonline.com. SHOOT and shootonline are registered trademarks of DCA Business Media LLC. exec producer at The End. September 26, 2008 SHOOT 11 Top Spot of the Week Director Madhvani Brings Himani Fast Relief To “Man Made Machines” By Christine Champagne was a difficult project and just to keep After brainstorming, the agency around and say, ‘Oh, there are fifteen Human beings are sculpted into ev- our sanity going was a task,” Khaz- and director hit upon the idea of por- problems with this shot—the perspec- erything from buses to factory ma- anchi said. “Ram not only pulled it traying the big city grind. tive is not matching, the shadows are chines in a captivatingly artful spot for off beautifully for us, he kept the faith With a concept firmed up, Madh- not right. I think you need to plant a pain relief ointment Himani Fast Re- alive in the idea.” vani put together a cast of about 200 tree there. The clouds don’t match— lief. Created by Mumbai’s Ambience The making of “Man Made Ma- people made up of two groups—prac- you can’t have cirrus and cumulus Publicis and directed by Ram Madh- chines” was a long process that in- titioners of a gymnastic sport called clouds together’,” Madhvani said with vani, “Man Made Machines,” which volved a month and a half of ideating, Mallakhamb, and dancers. a laugh.. runs more than a minute, portrays the two months of rehearsals, six days of “The reason we went for these While painstaking attention was non-stop hustle and bustle of life in a shooting in a studio, a month shooting people was there was going to be lots paid to the visuals, the music also big city. backplates on location of touchy-feely, human bodies in con- played an important role in convey- “The basic idea for and a month and a half tact, and I didn’t want to be a position ing the commercial’s message. the campaign stems of postproduction. where people said, ‘Excuse me, where The agency’s Khazanchi actu- from the life of our Altogether, the job are you putting your hands?’“ Madh- ally wrote the song lyrics, while well- target—the people took about six months. vani related with a laugh. “So I wanted known Indian composers Vishal who outstretch them- By comparison nor- people who were comfortable with Dadlani and Shekhar Ravjiani, who selves every day. To mally in India, a com- touching each other.” go by Vishal-Shekhar and are based in them, life’s become a mercial would go from Madhvani relied on choreographers Mumbai, composed a hypnotic track machine,” Ambience conception to comple- Avit Dias and Ganesh Devrukhar to with an Indian techno feel. Publicis creative direc- tion in just six weeks, then help him shape these people into “The music says that the wise men tor/copywriter Ash- Madhvani said. everyday objects. say that men have become machines as ish Khazanchi said. the wheels of time turn. That’s a very, “Though this product Ram Madhvani Tone of voice Organic formations very bad translation, and it sounds can’t change that, what it certainly can According to the director, the agen- “I wanted the formations to be—to very corny when I say it,” Madhvani do is make it less of a pain.” cy came to him with “the concept very use a word that is very topical today— said. “But when you hear it in Hindi, The agency hired Madhvani—who clear in their minds. They wanted to organic,” Madhvani said. it is evocative of an insight that is part is repped in India by Mumbai’s Equi- form machines with human beings, “Though every vehicle had a frame of our lives.” nox Films and throughout the rest of and they also had a tone of voice—they onto which these people had been the world by Great Guns, bicoastal and were very clear that they wanted it to put, I didn’t want it to feel like the London—to direct the spot because be slightly cynical. They wanted it to frame was there.” top he has a history of pulling off visu- be that you go through your day, you Upon completion of rehearsals, ally stunning ads, and he realized that have a problem to fix, you try to fix the Madhvani and DP Kartik Vijay shot “Man Made Machines” had to reach problem, and you go right back to the “Man Made Machines” in a studio in Spot people on a visceral level, according to grind,” Madhvani explained. “So they front of a green screen. of the week creative director Khazanchi. were very clear about the device and “I had to do this in an air-condi- “I can’t even begin to enumerate the tone of voice. What we didn’t have tioned environment with safety mats CLIENT what Ram brought to the table. This was a story.” because I wanted the people to be Emami Limited/ comfortable. Obviously, the agency Himani Fast Relief. AGENCY was very worried that we would not be Ambience Publicis, Mumbai. able to pull off the reality of it,” Madh- Ashish Khazanchi, creative direc- vani acknowledged. tor/copywriter/lyricist; Prasanna “But,” he continued, “I must say Sankhe, creative director/art direc- they were very trusting because I said, tor; Prashant Godbole, Akash Das, ‘No guys, this is the only way that art directors; Hozefa Alibhai, pro- ducer. we can actually attempt this because PRODUCTION COMPANY I don’t want to be in the middle of a Equinox Films Pvt. Ltd., road with a one-hour road permission. Mumbai. You just can’t do this kind of thing in Ram Madhvani, director; Kartik Vi- one hour.’ “ jay, DP; Manoj Shroff, line producer; Sahrudananda Sahoo, Anna Ipe, Once Madhvani had his live action production designers. Shot on loca- and backplates, which were a combi- tion in Mumbai and on stage at Film nation of 35mm and digital stills, he City, Mumbai. dove into the editorial and postpro- EDITORIAL duction process. Anshuman Gokel of Pixion, Mumbai. Mumbai’s Pixion edited the commer- Anshuman Gokel, editor. POST/GRAPHICS cial, and the artisans at Tata Elxsi, also Tata Elxsi, Mumbai. in Mumbai, handled the post and the Ravi Datla, modeling; Paresh P. visual effects. Patil, matte painting; Vishwas Sa- There was a lot of back and forth vanur, Deepal Dass, compositing between Madhvani, the editor, the leads; Syam P.M., B. Selvamuthu Ku- art directors from the agency and the marsamy, Rachana Vaity, composi- tors; Rohini Joshi, T. Kannan, Flame team at Tata Elxsi. compositors. “The art directors are very good MUSIC with things like shadows and all of Vishal-Shekhar, Mumbai. #,)#+(%2%4/6)%730/4 the other things directors don’t really Vishal Dadlani, Shekhar Ravjiani, Ram Madhvani helmed this charmingly offbeat ad for Himani Fast Relief pain reliever in which people are artfully “sculpted” into “Man Made Ma- want to look at. You sit there with what composers. chines.” Himani keeps these “machines” humming despite the physical rigors they experience.. The spot was conceived by Ambience Publicis, Mumbai. you felt was a good shot, and they turn 12 SHOOT September 26, 2008 The Best Work You May Never See Seb Edwards Pierces Veil Of Invincibility By Robert Goldrich David Abbott and Paul Williams, and producer Sinead Phillips. Firemen slide down poles as if responding to an emergency—albeit slowly—yet Simon Cooper produced the films for Academy. The DP was Martin Ruhe. there’s no emergency in sight or sense of urgency felt Editor was Sam Rice Edwards of Nick Hindson Editors, London. Flame artist An emergency medical technician (EMT)/rescue worker type pushes an emp- was Ludo Fealy of MPC, London. Colorist was MPC’s Mark Gethin. ty gurney through corridors and eventually onto an ambulance. Sound designer was Andy Humphreys of 750mph, London. Firefighters gear up their truck which then makes its way out of the station. Jon Hopkins, an independent artisan, served as music composer. Police cars, a fire truck and emergency vehicles converge on a stretch of high- way which the officers have cordoned off. Yet there’s no sign of any trouble.. Epidemic Traffic comes to a standstill, unable to pass the police blockade. People get out Both 70-second films were created in the wake of the staggering number of of their cars, knowing they’re in for a long wait. What they’re waiting for, though, British troops recently killed on civilian roads after returning home from active remains unclear. Traffic is backed up for as far as the eye can see. military service. It was discovered that having survived war zones in Afghanistan Investigators walk about, looking over the scene. and Iraq, many soldiers approach normal life with an air of invincibility, resulting Meanwhile, we finally get a glimpse of who and what they’re waiting for: a in tragic accidents. Rather than simply barking orders at the soldiers, the army motorcyclist beginning his commute. He’s driving recklessly and at high speed, adopted a cinematic approach to tackle the problem. weaving in and out of traffic. Waiting to Happen was shot on location in Germany where there are a large Clearly he’s a skilled driver but he’s also a daredevil, zipping along thorough- number of British barracks. The bleak eastern landscape provided a perfect fares while encountering some close calls with bigger vehicles. sense of foreboding for the film. The idea was to create an unsettling surreal at- Back to where the police, EMTs and firemen wait, we now see a nearby high- mosphere that slowly intensified, like a bad dream. It was important to avoid the way overpass. There a couple of youngsters watch and wait. One of them has his customary ‘road safety’ shock tactics as the target audience would be immune cell phone camera at the ready. to such a crude approach, given that most of them would have witnessed real Then the inevitable happens. The motorcyclist loses control of the bike and life atrocities themselves. Both Waiting to Happen and Debris were developed as they both flip over the center divider. They land heavily on the pavement, right part of a more subtle strategy to get under soldiers’ skin and leave an indelible in the center of the cordoned off highway. The driver bounces several times impression that would hopefully result in a positive change in behavior. against the road as his body slides along before coming to a literally dead halt. A firefighter sprays fire extinguisher foam over the motorbike wreckage. Client British Army Agency Golley Slater, London David An EMT-type or paramedic places a sheet over the deceased driver. Abbott, Paul Williams, creatives; Sinead Phillips, producer. A super then appears: “You’re an accident waiting to happen.” The lad on the overpass clicks off cell phone camera photographs of the ac- Production Academy Films, London. Seb Edwards, director; cident scene below and then leaves. Simon Cooper, producer; Martin Ruhe, DP. Editorial Nick Another super follows, which relates a sobering statistic: “British troops are Hindson Editors, London Sam Rice Edwards, editor. Post MPC, twice as likely to die on the road as civvies.” London Ludo Fealy, Flame artist; Mark Gethin, colorist. Sound A British Army logo then comes up on screen accompanied by some prudent Design 750mph, London Andy Humphreys, sound designer advice: “Drive Carefully. You’re Tough. But Not Invincible.” Music Jon Hopkins, composer

Road safety films credits The British Army commissioned this 70-second road-safety film titled Waiting From reckless to lifeless in the blink of an eye.. to Happen. It’s one of two in a campaign for internal military use that was directed by Seb Edwards of Academy Films, London, for London agency Golley Slater. The other :70, titled Debris, shows a deadly traffic collision with the impact being felt in differ- ent places—by the dead driver’s loved ones, friends and family who are barraged in their homes and elsewhere by shattered glass and other debris. A parting supered message to the reckless driver reads, “It’s not just you who will feel the impact.” #,)#+(%2%4/6)%730/4 The ensemble at Golley Slater included creatives

Reach Potential Clients With A Reserve Ad Space Today: East/Midwest/Canada/ Latin America Loud & Clear Brand or Sales Message 203.227.1699 ext. 15 Promote your company, services, products to Ad Agency [email protected] Producers & Creatives and Production/Post Decision-makers! West Coast / International In addition to the latest news and best new work, here’s what’s coming up... 323.960.8035 ext. 6685 [email protected] OCTOBER 10 ISSUE OCTOBER 24 ISSUE NOVEMBER 7 ISSUE SHOOT is pleased to present its Classifi ed / Recruitment AD AGENCY CREATIVES ON semi-annual “NOT TO BE MISSED” AD AGENCY PRODUCERS 203.227.1999 ext. 12 Cinema & Mobile Advertising MUSIC & SOUND classifi [email protected] D I R E C T O R S + “Top Ten Spot Tracks” Chart VISUAL EFFECTS & ANIMATION EXTRAVAGANZA !! Bonus Distribution: SHOOT “Music for Publisher & Top Ten VFX/Animation Chart I. Profi les of leading directors Commercials” Panel at THR/Billboard 203.227.1999 ext. 13 II. Feature on rising directorial stars Film & TV Music Conference [email protected] South America: Production/Prod III. Cinematographers & Cameras Services/Locations London Intl Advertising Awards Preview Florida Production & Post United Kingdom Production & Post Deadline: September 29 Deadline: October 14 Deadline: October 28 SPEAK UP! SPEAK

September 26, 2008 SHOOT 13 CHAT ROOM

Jason Karley & Galen Graham The core creative team on Bud Light’s primetime Emmy-winning “Swear Jar” refl ect on the honor and the spot’s genesis.

By Robert Goldrich to work on the Dell computers account, Graham segued into McDon- A creative team for four-and-a-half years and counting at ald’s a couple of years later and hooked up with Karley on that business. DDB Chicago, art director Galen Graham and copywriter While Karley and Graham focused on McDonald’s, Mark Gross, now se- Jason Karley—who are both associate creative directors— nior VP/group creative director at DDB Chicago, gave them the chance came into prominence on the Bud Light account, most no- to also contribute to some Anheuser-Busch assignments. They were able tably with the viral spot “Swear Jar,” which earlier this month on occasion to get involved in creative for Bud and sold a few concepts. won the Academy of Television Arts and Sciences’ (ATAS) “Budweiser was always the dangling carrot,” observed Karley. “I was 2008 primetime commercial Emmy Award. hired to work on a couple of accounts but was reminded that Bud and Graham has been with DDB Chicago for the past seven Bud Light are in the building. It’s an account I very much wanted to work years, Karley for the last fi ve. The former caught the adver- on and I ultimately got the opportunity to do so.” tising career bug at his alma mater, Washington University Karley, a graduate of Syracuse University, broke into the agency ranks in St. Louis. During Graham’s studies there he landed an in- at Saatchi’s former Rochester offi ce. He then moved to Manhattan, land- ternship and then a junior art director gig at Fallon, Minne- ing a job as a writer at a boutique that soon closed. Next came a short apolis, before moving to Cramer-Krasselt, Chicago. stint at FCB, New York, and then DDB Chicago came calling. Next came the opportunity at DDB Chicago, enabling Besides the Emmy and a Cannes Silver Lion among other honors, “Swear him to get more fully into television. Hired by DDB originally Jar” scored Karley and Graham pretty much full-time duty on Bud. Graham (l) and Karley

SHOOT: Tell us about the Emmy Graham: Yes, it’s great to be tied into Karley: The original plan wasn’t viral Karley: It was just one of those mo- were all on the same wavelength in Awards ceremony experience at the the Academy making the statement for the commercial. Originally it was a ments. We were kicking around ideas. terms of casting. Nokia Theatre in Los Angeles. that broadband is a part of broadcast, potential 2007 Super Bowl spot. But We talked about a tip jar and other that entertainment isn’t confined to the network [CBS] rejected it in script reasons for collecting money. SHOOT: Though being rejected for Karley: Being on the red carpet was just television, that it can be delivered form. They said absolutely no way to As soon as one of us said “swear jar,” the Super Bowl is hardly cause for surreal. Sitting in this huge auditori- to people through different platforms. all the bleeping. it just clicked into place. That’s not to celebration, in retrospect it led to your um with each nominated commercial Plus we were a bit of a dark horse can- However, Anheuser-Busch liked it say that we immediately had the script current success with “Swear Jar.” being played at different times of the didate, which made winning a bit of a enough to keep the idea alive. With- in its original form. But we had the Do you think about what might evening was a bit surreal as well. surprise and even more special for all out a client who saw the entertain- idea and the spirit. Someone puts out have been had the commercial made To have our commercial get such a of us at DDB. ment value of the spot and was will- a swear jar and everyone starts swear- the Super Bowl cut as had originally loud, warm, enthusiastic response was ing to commit to it despite a network ing to get Bud Light. been intended? a kick—and then a minute later to hear SHOOT: The commercial debuted on rejection, there would be no Emmy to Over the next several weeks we that we won the Emmy was an abso- the Bud.TV web entertainment chan- celebrate today. honed in on the scenes and lines that Karley: No. Though it would have lutely incredible feeling.. nel and then took on a life of its own wound up in the final commercial. been cool to have the spot viewed by that huge Super Bowl audience, Graham: It was so cool to be there. Celebrating the primetime Emmy Award things turned out quite well for “Swear It really hit home for me that the win backstage at the ATAS Creative Jar” virally and most recently with the Emmy Awards are so different than Emmy Award. the awards in the advertising industry. Arts Emmy ceremony are (l to r): For one, the viral :60 is a lot better Being judged by your peers and hav- than the :30 version—and I don’t know ing your work respected in the indus- Rick Carpenter, president/CEO, DDB that we would have had a :60 on the try is a terrific honor whether it be a Chicago; Karley; Mark Gross, group Super Bowl. Maybe the :30 wouldn’t Cannes Lion or whatever. have had the same incredible impact This [the Emmy] is a different kind creative director; and Graham. on the Super Bowl as it did virally of recognition, however. It’s a main- in the form of a minute-long spot. I stream award that everyone knows don’t know that the broadcast :30 ver- about and that has clout in the real virally. Was “Swear Jar” intended to Graham: Then the plan became And scenes and lines were also devel- sion would have ultimately won an world beyond our community. be a viral spot from the very begin- to use it to help launch the Bud.TV oped when working with the director, Emmy Award. ning because of its storyline which network. “Swear Jar” was used as a David Shane. I do know that it’s been great to see SHOOT: Does the Emmy win take entailed bleeped-out cussing? promo for the network, giving people how people found the commercial on added significance for you in that [Editor’s note: The spot’s premise a taste of the Bud.TV channel’s spirit SHOOT: What led you to select virally and experienced it. Between it set a precedent thanks to the Acad- has an office setting up a “swear jar” and identity.. Shane who at the time was with Hun- YouTube and viral emails, the spot at emy of Television Arts and Sciences’ into which money will be put each When you watch the commercial, gry Man? [Shane has since joined the most recent count has generated decision to open up eligibility to work time someone at work swears. The it is clearly for Bud Light—but it also oposi+ive, New York.] What did he around 12 million hits. appearing on platforms other than tra- funds collected will be used to buy reflects the bold irreverence and the bring to the party? Audiences continue to either seek ditional TV? The irony is that “Swear Bud Light for the entire office, caus- spirit of Bud.TV. out the spot or discover it. And new Jar” became the first commercial not ing bleeped-out expletives to fly out of Graham: David is one of the best outlets are opening up even now. to appear on television to actually win the mouths of employees and execu- SHOOT: How did you come up with dialogue directors around today. His “Swear Jar” was recently posted, for what is television’s highest honor, an tives alike in varied situations all over the idea for “Swear Jar”? What was comedic timing and casting are sim- example, on Will Ferrell’s funny or Emmy Award. the workplace.] the genesis of the concept? ply amazing. And as it turned out, we die website. 14 SHOOT September 26, 2008 HAWAII PRODUCTION

Islands, Incentives, Infrastructure

Hawaiian I’s Make Their Mark In Spots And Branded Content © Tim Ryan

As if paradise needs extra incentives in order for filmmakers to visit—well, actu- tive. For example, airfare to and between the Islands, and the cost of shipping A SHOOT Staff Report ally today’s economic realities dictate that it does even when that paradise is as equipment to Hawaii can qualify as valid expenditures for the tax credit—as do naturally enticing as Hawaii. And indeed Hawaii has been responsive to an ultra above and below-the-line talent and resources, including crew members who are competitive marketplace in which assorted states and countries have put finan- Hawaii residents or from out of state. cial incentives in place to help keep and attract production. “We’re seeing projects coming here because of the incentives that might not In fact, 2007 marked the initial full calendar year for Hawaii’s refundable tax have come otherwise,” related film commissioner Walea Constantinau of the credit measure that took effect in July ‘06. The initiative applies to features and Honolulu Film Office. “And at the same time, we’re attracting projects that al- TV as did past Aloha State incentives, but for the first time commercials are ready had an interest in coming here among the mix of eligible projects. The tax credit amounts to 15 percent of quali- but are expanding their budgets when fying production-related expenditures for lensing on Oahu. And that goes up to they take into account the tax credits— 20 percent for activity on any of the other neighboring islands (The Big Island so they’re adding more to their bot- of Hawaii, Kauai, Lanai, Maui, Molokai). tom line in terms of equipment, hiring Hawaii Film Office state film commissioner Donne Dawson noted that since extra people or simply shooting here the tax credits took effect in summer of ‘06, applicants for the incentives have longer. The incentives are proving to Acollectively accounted for some $221 million in filming-related expenditures in be very important—and they figure the state. Approximately $9.4 million of that amount came from commercials. to become more important as more While that dollar figure isn’t a large percentage of the overall total (in part people outside Hawaii become fully due to the size of such major projects as the ABC hit series Lost and the feature aware of them and the scope of the film Tropic Thunder), Dawson noted that commercials represented some 49 per- expenditures that qualify.” cent of the incentive applications submitted thus far. Furthermore, these spots At press time, producer Dana Han- employed nearly 2,000 workers, 1,563 of whom were state residents. That’s 79 kins of Redhead Productions, Hono- percent local hires. lulu, was laying the groundwork for (Since July 2006, the total direct expenditures on documented commercial an undisclosed feature scheduled to © Tim Ryan production on the Islands amounts to some $13.3 million, which includes the start production in Hawaii in January. The project is an example of the tax credit Shooting the MOW Special Delivery $9.4 million worth that filed for the tax credit incentive.) adding to the bottom-line budget per the scenario outlined by Constantinau. Hankins noted that the $3 million film is projected to earn a Hawaii tax credit of (Top Photo) Bright prospects about $200,000 so the producers are putting that back into the budget to fund AT & T shoot, Halona Cove in East Honolulu Dawson envisions the commercialmaking business increasing substantively what essentially will be a $3.2 million film. over the long haul in Hawaii as word gets out relative to the incentives package and the fact that the minimum qualifying threshold is $200,000 in expendi- Spot rundown tures, which is quite attainable for national spots be they from the mainland U.S. In the commercialmaking arena, Hawaii has drawn recent jobs with some big or international (with much activity already coming from Japan). ticket mainland directors attached, including Rocky Morton of bicoastal/interna- Plus the range of eligible expenditures makes the initiative all the more attrac- Continued on page 16 September 26, 2008 SHOOT 15 HAWAII PRODUCTION

Spot-Friendly Hawaii Picks Up Filming Momentum

Continued from page 15 sister Stephanie Spangler maintain a tional MJZ for an AT&T package fea- location scouting and management turing broadcast journalist Bill Kurtis, business in Hawaii with a laundry list and helmer Baker Smith of Santa Mon- of credits that spans Hawaii Five-O, ica-based Harvest for another AT&T Magnum P.I., the Michael Bay feature spot, “Beach,” in which Oahu doubles Pearl Harbor, the miniseries Blood & for a beach (actually a nude beach per Orchids and assorted commercials, the comedic storyline) in Spain. Direc- including HBO’s “Chimps,” the very tor Mike Bigelow of GARTNER, Santa first spot to win a primetime Emmy Monica, was in Oahu recently for a Award. “Chimps” was directed by Joe CDW campaign. And there’s been spot Pytka of Venice, Calif.-based PYTKA action on neighboring islands as well, for BBDO New York. including Range Rover and eHarmony Part of and also helping to build shoots on the Island of Hawaii (which at Donne Dawsonthe infrastructure cited by Constan- James Rosen press time was also in the midst of about Facilitating production in Hawaii was tinau are local filmmakers who are have won Oscars. Chief—both written a month of hosting the Wheel of Fortune Honolulu-based Production Partners gaining prominence that extends well and directed by Wagner, and produced TV series, according to Big Island Film headed by producer/production man- beyond Hawaii. Consider the case of by the aforementioned Hankins—was Office commissioner John Mason). ager Leroy Jenkins. Honolulu-based director Brett Wagner among thousands of shorts submitted Also among the latest notable ad- A production veteran, Jenkins—who whose 21-minute film Chief continues for consideration at the Los Angeles vertising fare was Kaiser Permanente is president of the Hawaii International to score accolades. Shortsfest competition. Hawaii’s “Breath” directed and shot by Film Association—wasn’t available for Filmed in the jungles, waters and “It’s no small feat, particularly when Ken Arlidge of Aero Film, Santa Mon- comment at press time in that he was in urban nightscapes of Oahu, Chief tells you look at the high profile nature of ica, for Campbell-Ewald, Los Angeles. the midst of two major shoots in Hawaii the story of a highly ranked tribal chief- the other entries,” said Constantinau. Featuring a collage of activity propelled for the Japanese market. tain from Samoa who flees his village “The L.A. Shortsfest featured perform- forward by the sound of the human The Islands indeed attract much after the drowning death of his young ers read like a Hollywood who’s who— breath, this breathtaking regional spot business, including commercials, from daughter, and winds up working as a Winona Ryder, Kirsten Dunst, Rainn earned inclusion this summer into Japan. Art Umezu of the Kauai Film taxi driver in Honolulu. Wilson, Whoopie Goldberg, Sam SHOOT’s “The Best Work You May Commission cited, for example, a Pa- The year kicked off with Chief be- Rockwell, Robert Redford. Just being Never See” gallery (7/18-8/14 issue). nasonic spot for Japanese consumers coming the first Hawaii-made short to selected was an honor, but to win...it’s that was recently lensed on the Garden premiere at the Sundance Film Festi- truly outstanding.” Island. At the same time, Kauai has val in Park City, Utah. And the latest Wagner, whose filmmaking pedi- drawn some big ticket projects, most no- kudo to be bestowed upon Chief was gree includes commercials which he tably the earlier alluded to Tropic Thun- the Best Dramatic Short Award at last continues to direct as a freelancer, der starring, directed and co-written by month’s Los Angeles International noted that “winning L.A. Shortsfest Ben Stiller. Umezu estimated that about Short Film Festival. and getting our Academy qualifica- 80 to 90 percent of this box office hit The L.A. Shortsfest is an Academy tion is huge for us, and a victory for comedy was filmed on Kauai. Award-accredited film festival with its the dozens of Hawaii-based cast, crew On the TV series front, the TV Land winners eligible to be nominated for and supporters who contributed their reality show High School Reunion was an Oscar in the short film categories. talent and resources to this film.” shot on Kauai a few months ago, with Thirty of the festival’s past winners Honolulu Mayor Mufi Hannemann those episodes slated to debut on air in have garnered nominations and nine described Chief as setting a high stan- early ‘09. And slated for November film-

© Honolulu Film Office© Honolulu Film ing on Kauai is the Food Network series Diners, Drive-ins and Dives. Infrastructure The range, caliber and quantity of production on the Islands has helped to build a healthy industry infrastructure. Constantinau noted that crew talent and production support resources are deep, with distinct specialties not easy to find elsewhere now readily available in Hawaii such as “water people span-

ning cinematographers, safety experts Office© Honolulu Film and all kinds of support for ocean and Kaawa Valley EDGE underwater shooting.” CITY And of course water is just part of the range of locations offered on the FILMS Islands. “It’s an interesting mix of city, resort, jungle, mountains, vistas, beach and permutations with many or all of those things rolled into one,” observed Shawn Hiatt Constantinau. “There are a lot of dif- DIRECTOR OF PHOTOGRAPHY ferent looks to be had here, the poster child for all this being the series Lost www.edgecityfilms.com which is now in its fifth season. They’re

808-383-4374 recreating different backstories all the time and it’s all shot on Oahu.” [email protected] Randy Spangler is one of the prime location mangers on Lost. He and his Chief 16 SHOOT September 26, 2008 HAWAII PRODUCTION

dard as “a shining example of the po- fact Rosen and Elmore have teamed on pal Sereno, he gained recognition back green client out of Honolulu ad agency driving traffic to the web, a docu- tential of Hawaii’s film industry.” a campaign for Hawaii Pacific Health, in ‘05 when his first short film, Silent Core Group One. The agency brought mentary about this character, a book Chief has additionally been recog- with Rosen helming the TV spot Years, won a BAFTA/L.A. Award. Sere- Sereno in during the early stages of written by the character that can be nized with a certificate of excellence component while Elmore directed no has gone on to establish himself in the project to help in the conceptual downloaded, character blogs and other from the British Academy of Film and content expressly for the web. While varied disciplines, including commer- development of the campaign which branded entertainment elements. Television (BAFTA). The film, which he’s primarily involved in live action, cials and branded content. will follow a character who goes on Director Sereno is often asked to be also won best dramatic short honors Elmore at press time was also directing On the latter score, besides the Star- an extraordinary journey while doing involved in the creative for projects giv- at the Maui Film Festival, will make its a 15-second stop motion web piece for wood short he directed, Sereno is now extraordinary things, all tied into the en his ad agency pedigree. Earlier in his formal Oahu debut during the Hawaii Hawaii Pacific Health. in the midst of an ambitious initiative green theme. The campaign’s compo- career, he was a producer for Southern International Film Festival in October. As for Kinetic Productions’ princi- for an undisclosed eco-friendly, pro- nents tentatively include a commercial California agency Team One. Wagner began his career in com- mercial production in New York, writ- ing and directing for clients Deloitte, CS First Boston and AIG Insurance, among others.. Eventually spot work drew him way west to Honolulu where he has directed for McDonald’s, Starwood Resorts, AT&T Wireless, KFC, Bank of America and Hawaiian Airlines, among others. Over the past five years, Wagner’s ad industry endeavors have scored a dozen regional ADDY Awards, includ- ing 2007 Best of Show recognition for

NEWER MATH

4 + 5 X 1 = :30

Four great counties, fi ve great fi lm offi ces

and one great incentive. It all ads up to a

great place to do your 30 second spot.

James Sereno Detour, a 10-minute branded entertain- ment film for Starwood Resorts. Branded content Select directors in Hawaii turned out other films in the Starwood series of branded entertainment fare, including James Sereno of Kinetic Productions, Honolulu, and Dennis Mahaffay who was with Shooters Film Production, Honolulu, at the time. (Mahaffay has since moved over to the ad agency side, heading production at Laird Christian- son Advertising, Honolulu.) Shooters Film Production is under the aegis of director David Rosen, who’s active in varied forms of con- tent, including commercials. He de- scribed the Starwood series of films as akin to the famed BMW shorts, and sees potential in different forms of advertiser-supported content that go beyond traditional commercials. Thus he has positioned Shooters Film Pro- FILM OFFICES OF THE HAWAIIAN ISLANDS duction to handle both conventional Contact us to fi nd out more about getting back and emerging ad fare. One move in 15-20% of your TOTAL Hawaii spend including that vein was the signing of director pre-production, scouting, cast, crew, musicians, Gerard Elmore who has a track record hotel, locations, equipment, set construction, wardrobe, props, offi ce supplies, transportation, of web work, including a Crown Royal editing, visual effects, music, post-production,

Whisky project which focused on the rentals, airfares, shipping, insurance, bonding... FILMMAUI.COM FILMKAUAI.COM FILMBIGISLAND.COM FILMHONOLULU.COM HAWAIIFILMOFFICE.COM NASCAR auto racing circuit. Rosen 808 270-7415 808 241-6386 808 327-3663 808 527-6108 808 586-2570 brought in young gun helmer Elmore to handle a mix of new media projects as well as broadcast commercials. In September 26, 2008 SHOOT 17 DTV TRANSITION

A Mix Of POVs On DTV A SHOOT Staff Report Nathan Adams, senior account executive, Media Distributors Technology & Solutions Group The switch to DTV means that most projects are working in HD now. Those working in HD for the first time should involve experienced profes- sionals to avoid surprises. Start by getting the final delivery requirements in writing and create a plan that will get you to the finish line. Understand that all HD formats are not created equal. Different formats shoot at different frame sizes, frame rates and color depth, and the workflow associated with each format is usually different. Green screen work or projects requiring significant color cor- rection should watch out for HD formats in 4:2:0. Mixing frame rates and frame sizes can be expensive and time consuming if the technical aspects are left until the finishing process. A fast FCP system with a quality HD reference monitor and an Aja Kona 3 card or an IO-HD should pay for itself very quickly by cutting down or eliminating time in an online bay. This setup offers HD conversion capabilities that are unrivalled at this price. Plus, now many projects are working with “broadcast quality” compressed material like Apple’s ProRes HQ. This allows them to edit “online” from cheap drives and eliminate or minimize the expense of an online session.

Michael Bergeron, strategic technology liaison, Panasonic Broadcast Preparing for the DTV switch will involve preparation for HDTV, including equipment and workflow changes. Regarding equipment, for a full return on these investments, it will be neces- sary to consider all of the advantages to be gained from the new technologies. For example, the value of improved image qual- ity is obvious; but in evaluating new acquisition gear, end-to-end testing is Continued from page 1 essential. An 8-bit recording may look stunning with a straight playback, but it may not hold up as well to postproduction image manipulation as The following two-pronged question was posed to the hardware/software 10-bit recording will. It’s very important to measure quality in the context community: of the post process. What advice would you offer to postproduction facilities and producers (that The bigger long-term advantage of the new tools may have less to do are active in commercials and other forms of sponsored content) about how to with resolution and more to do with revenue generation and operational best adapt to—and benefit from—the fast approaching transition to digital televi- efficiency. With the move towards more file-based environments, I expect sion (DTV)? What new kinds of technologies—hardware and/or software—should the value of creating file based content with rich meta-data support will post shops and/or producers consider investing in, experimenting with and/or increase. Looking towards the future, Panasonic leveraged forthcoming renting and why? meta-data driven technologies by focusing on MXF and XML standards for our P2 solid-state recording products. This has already proven useful Here’s a sampling of the industry feedback: for creating a working, digital footage-archive system and will be key to enhancing an organization’s ability to repurpose content in the digital age. T 18 SHOOT September 26, 2008 DTV TRANSITION

Michael Bravin, Dean Lyon, chief technology officer, director of marketing, Band Pro Film & Digital da Vinci Systems The effect of the transition to digital transmission means that the pro- The transition of consumer TV to DTV is a non-event to the produc- duction and postproduction workflow becomes digital and in many if not tion and postproduction world. We had already begun a transition to digital most cases working with wider screen (16 X 9) aspect ratio pictures. by the late 1980’s and da Vinci was at the forefront of providing the tools While at first glance it seems that the equipment necessary for the all necessary for filmmakers to transfer and post their programs and televi- digital workflow is costly, there are several advantages over the long run. sion commercials in digital. Obviously, over the years, the digital path and The post houses that have not made the transition to digital will find that the transition can be processes have improved, and by the late 1990’s, da Vinci, once again, led the transition of production costly if done all at once. Many if not most commercial post facilities have long ago adopted a digital and postproduction companies to digital HDTV, largely fuelled by the insinuation that “digital” TV workflow and they are poised to move when the transition takes place because they have been doing would ultimately pave the way for high-definition television in less than 10 years. this for the past several years merely downconverting for 4:3 analog deliverables. The basic filmmaking tenet has not changed, always produce your asset (feature film, TV show or For the producer the additional quality inherent in an all digital workflow when mastering for ad) in the highest resolution possible, thereby insuring best quality, flexibility and durability through- television, enables the ability to repurpose material for the web, mobile phone, print, and even the out these standards and format transitions. The resolution advantages that we had in motion picture cinema. This allows for additional revenue streams or cost savings because of a master once use many film were that we could scale, aspect ratio adjust and otherwise format the images to any desired times methodology as they are repurposed for each platform. television broadcast standard. With this in mind, da Vinci developed their latest generation offering, The DP has additional picture real estate to work with when shooting 16X9 and the additional im- Resolve, with the capability to pan, tilt, zoom and even rotate digital (like Genesis, Viper and Red) or age quality especially for product spots allows for more creative control. Digital offers a closer finished film (16/35/70mm) acquired images in real-time to any resolution output with exceptional results. product to what the DP visualizes and then sees on set. Michael Morelli, VP and worldwide general manager, strategic Mike Condon, SOC; accounts & regional business general manager, Americas, manager, digital department, Entertainment Imaging Division, Eastman Kodak Company Clairmont Camera The transition to digital television coupled with the rapidly growing There are many variables that should be taken into consideration when number of high-definition screens in homes represents a unique opportu- renting equipment for shooting an HD commercial. These include the pref- nity for commercial producers and directors. The prospects for heighten- erences of the DP or camera operator, the environment of the shoot, the ing the emotional content of 30- and 60-second stories by using nuances “look” that’s desired, the interfacing with post, and, of course, the budget. in colors, tones, contrast, textures, and light that speak to audiences will From a camera standpoint, Clairmont offers everything from the “work- increase. Film is inherently a high-definition medium. We recently developed a new generation of horse” Sony F900/3 and Panasonic Varicams, up to the sophisticated film-like Arri D-21 and Sony KODAK VISION3 films with distinct imaging characteristics and unsurpassed latitude, which provide F23. We also have the new Red One camera, which has many highly desirable features, including very directors, producers, cinematographers and colorists at postproduction facilities with unlimited flex- high resolution (4520 x 2540 active pixel array). The tiny Iconix HD-RH1 has also become increasingly ibility. Audiences will sense things that weren’t apparent before. It may be a subtle gleam on the silver popular among commercial makers because of its ability to function in exceptionally tight quarters. tone of a new car, a sparkle in a character’s eyes, or a barely noticeable shine that catches the viewers’ Lenses play an important part in the creative process, and one that’s receiving quite a bit of play lately eye. Creative freedom has no boundaries in the film format, maximizing the impact of the client’s is the unique v3 MOE® (moving optical element) that enhances realism of a shot. The Long-Range product, services or brand on the viewing audience. DTV makes that truism more important than Macro offers magnification up to 40x and avoids the lighting issues that come with normal length lens- ever. Choosing anything else is a compromise. es. As for digital workflow, we have everything from the mobile Panasonic AJ-HPM-110 P2 recorder/ player all the way to comprehensive digital workstations and fiber optic networks. David Sampson, Western Region & Latin American sales manager, Ray Gilmartin, Autodesk WW marketing manager, DCC, To take advantage of DTV, producers and facilities need to prepare for Workstations, HP three basic things. As a technology leader in the broadcast and postproduction industries, More Channels—which implies more need for many thousands of hours HP plays a crucial role in both the impending transition to DTV distribu- of airtime to fill with new, and repurposed content. tion and the ongoing evolution towards HDTV production. As a result, HP More resolution—Uncompressed NTSC 601 is no longer good enough for has been actively working with leading content providers to develop work- long term content. 4:4:4 RGB HD is a superb choice. If producers want to remain competitive, they stations with the increased CPU and GPU horsepower needed to meet the must be acquiring/creating the imagery in a very high resolution. This higher resolution then creates demands of these new, all digital workflows. The post industry can prepare for the switch by ensuring a throughput and image quality preservation problem for post facilities. that their facilities are equipped with the computing power needed to handle digital content. All HP New Equipment—post facilities need to retool with newer software capable of handling everything Workstations are equipped to handle DTV, while the quad-core HP xw8600 and xw9400 Worksta- from 601 to 4K seamlessly, faster platforms capable of handling large images, and upgraded network- tions are ideal for anyone looking to make the switch to HDTV production. ing, storage, tape deck and archiving solutions. By working closely with our partners in the content creation industry, HP was able to equip our ex- All of the above are extremely complex challenges that Autodesk is uniquely positioned to solve. isting workstations and displays with the processing power and digital I/O necessary to support these Flame, Smoke and Lustre are engineered to deliver the security that the producers demand for their new all-digital workflows. By implementing these capabilities into our products well in advance of images while sustaining incredible throughput. This speed allows for artistic experimentation during the mandatory cutover, HP has helped to ease the transition for our customers to DTV. In addition to the post process while still making the deadline. These solutions are ideal for post facilities that need all HP Workstations, HP’s Performance Displays meet the requirements to provide high quality DTV, maximum flexibility and scalability. including the new HP DreamColor LP2480zx, the HP LP2475w and the HP LP2275w displays. Richard Townhill, Al Kovalick, director of video applications product marketing, strategist, Avid Apple Inc. The DTV transition is the tip of the iceberg. DTV means It’s impressive just how many postproduction centers around the world more than moving from 4x3 to 16x9 and SD to HD. The transi- have become Final Cut towns. This transition has occurred because our tion opens up opportunities in multi-screen content creation; industry is moving away from proprietary, monolithic environments and for digital TV, web, mobile, podcasts, IPTV, digital cinema and more. Multi-screen is the future of adopting a more IT-centric strategy: systems need to be built on open stan- content distribution. Technical staff of post houses should know the specifications these new channels dards and need to talk to each other. require and provide services to create and publish to them. With all the digital acquisition options available today, Final Cut Studio 2 connects the dots for It will be important to understand the compression formats, data rates, screen sizes, metadata use digital file-based postproduction. It starts with Final Cut’s log and transfer tool which is designed to models and file formats required by the end user. Gone are the days of handing off a videotape and work with file-based digital acquisition devices from Panasonic cameras recording onto P2 cards to feeling the job is done. Provide quality control with in-house test screens for the target device--iPod Sony XDCAM HD discs and XDCAM EX solid-state devices to high resolution images captured on and other portables, select mobile phones (iPhone), Web viewers (Flash, Silverlight). For digital TV the Red cameras and finally to consumer AVC HD cameras. target screens, it’s a good practice to test finished materials on both 4x3 and 16x9 displays. Learn No matter what your source material, the process of copying the media onto local or SAN storage about the Active Format Description and how you can provide value to your client by adding it to goes quickly and happens in the background. You can begin editing as soon as the first clip appears. your deliverables. We’d suggest that our customers become familiar with products that assist in format When done, you’ll use Compressor to encode and distribute media. Compressor can output in just conversion such as those from AnyStream, Digital Rapids, Harmonic/Rhozet, TeleStream, and others about any format you need, from broadcast standard MPEG2, to H.264 for web or mobile delivery. as well as Avid’s Interplay workflow system for content management across target domains. Continued on page 20 September 26, 2008 SHOOT 19 DTV TRANSITION

Industry Perspectives On The Pending Transition To DTV

Continued from page 19 Field record digitally in 1080/24P CineAlta. With cameras like the Genesis, F23 and F35 you can Rob Willox, make a spot that is as artistically beautiful as any other medium. Shoot safe for 4:3 or shoot for both director of marketing, 16:9 and 4:3 on separate takes. From that 24P master make all your cross and down-conversions. Do a content creation division, low res (SD) off line in letterbox and 4:3. Then go back and master your hi def. Sony Electronics, Inc. The F23/35 and Genesis all have under/over crank, a huge color palette and are well know by the The promise of DTV was up to six times the resolution of Standard Defi- d.o.p. community. There are no longer “compromises” or giving up creative freedom to shoot it digi- nition and the option of the 16:9 aspect ratio. The reality of the market- tal. These cameras offer all the on sets benefits of digital while providing an image that is world class. place is that even though the HD infrastructure is growing quickly (there DP’s can use 35mm or 2/3” lenses as the scene dictates and the cameras are available to rent from are over 100 HD “Channels” on some cable providers), the commercial the usual suspects. Record on tape or on flash, whatever you’re more comfortable with. But don’t be playout infrastructure in many cases is 4:3. What should you do? afraid to shoot digital. Flipping The Switch: Trade Association Feedback

Just as SHOOT sought out members of the technology community for their takes on the transition to digital TV and its implications, so too were heads of leading trade associations invited to provide feedback. The two-pronged question posed to them read: What advice would you offer to post facilities and producers (that are active in commercials and other forms of sponsored content) about how to best adapt to—and benefit from—the fast ap- proaching transition to digital television (DTV)? Have you any suggestions relative to how they should eye new technologies when it comes to considering investing in, renting or experimenting with hardware and software related to DTV? Here are perspectives from four leading industry organizations: The Association of Independent Commercial Producers, the Association of Independent Creative Editors, the Hollywood Post Alliance, and the Production Equipment Rental Association:

John Johnston, executive director, Burke Moody, executive director, Production Equipment Rental Association (PERA) Association of Independent Creative Editors (AICE)

I think the DTV conversion date should be delayed until 01/10/10 The Digital Transition in February 2009 will be the final, small so we have a date that’s all ones and zeros. But come February 17th step in providing an all-digital transmission and distribution path for next year, the FCC, somewhere will pull that big switch and life in television programming and advertising in the U.S. In the television fringe reception areas may never be the same. Maybe that’s why the commercial production space, all-digital workflows are just beginning date is after the election. to emerge as more and more projects are shot with file-based, tapeless To put some advice about the digital transition into 200 words cameras—the Red and P2 cameras are common—edited, finished and makes me think about adding 193 more to George Carlin’s list. But enough cynical thinking. distributed digitally. It’s going to be just fine. Actually the commercial production, post production infrastructure is Having worked on digital platforms for in excess of 15 years, more recently finishing and very well prepared on the content creation side. delivering DTV content in HD and comfortable in networked media environments, creative It’s still all about preparation and planning. Workflow is more than a buzzword. Thinking editorial companies are well-positioned to meet the challenges of the all-digital pathway. From through the project and the process has never been more important. DTV specs include 18 pos- transcoding camera files for ingest, to prepping 2K or 4K files for color grading, to 5.1 surround sible outputs, the end result of numerous image acquisition file formats combined with several audio design, they are confronting the issues, discovering solutions, engineering new ways of post platform variables, viewed on different types of displays in one or the other aspect ratios. doing things and establishing the new workflow models which will become standards in the Someone should do the math to compute the number of total possibilities. industry tomorrow. Trust your DP. Remember if you can see it, you can scan it. Film works. In the meantime, the transition from the very well-established and reliable film-originated So does digital. But listen to your DIT. Even if you don’t understand a thing he /she says. work model to a virtually experimental one, grappling with technologies in a constant state of Know what your workflow will be. Talk to your post facility. Some things can be fixed in post. flux, is disruptive, challenging and thrilling. And some things can’t. Ouch. Choose your production equipment wisely and from a rental company that can provide the service to properly check equipment out. Know that they can back up the rental package if Leon Silverman, president, something goes down on set. Pick a rental house that has all the proper accessories to work Hollywood Post Alliance (HPA) with the camera package. Know they are going to come through on technical advice and sup- port when you need it. The impending transition to DTV has to a large extent been Production insurance and prayer are additional options. made possible by the Hollywood postproduction community who not only heard the call at the dawn of the digital era, but put up its money and its talent to make it happen. We hear a lot these days Matt Miller, president/CEO, about the deadline for DTV but the fact is that for the Hollywood Association of Independent Commercial Producers (AICP) Post Alliance community, this is really old news. Since the 1999- 2000 television season when our community first started delivering television product, our Two words: Pay Attention! community has invested, trained and has long since risen to the challenge. Our community Make it a priority to educate yourself about the process, and look at reacted to this impending transition by understanding the opportunities and working to- the transition from all angles, paying particular attention to what ap- gether. Our postproduction industry has over the past 25 years gone through tremendous plies to the sector of the business you are working in. There is a great change, both in the way content is created and distributed. The key to thriving and surviving deal of information out there, from a variety of sources; some is ac- in these times of change is to understand the impact of these changes and to work together curate, and some is not. Don’t rely on hearsay, or advice from friends as an industry to meet the challenges and opportunities head on. I am proud of how our Hol- of friends. Above all, understand the real-world applications, be realistic about the process, lywood Post community has helped to create a day where the content is seamlessly delivered communicate costs and other factors to clients, and plan accordingly. and ready for this transition.

20 SHOOT September 26, 2008 News

Case, Van Gastel Launch Animation/VFX House Off spring

NEW YORK—Executive producer spring team headed by creative direc- logue Films in Los Angeles. tion-honored work for varied brands, energy company out of Euro RSCG Saffron Case and director Mikon van tor Adam Levite whose credits include Previously, Levite was an art direc- including Dove and Smirnoff. Worldwide, and well as an initiative for Gastel, co-founders of New York-based working directly with Beck to design tor/designer at several New York agen- Offspring’s first high-profile spot automaker Ford. production house A Very Small Office, the cover for the Grammy-nominated cies including Kirshenbaum Bond project, “Let There Be Rock Band” Offspring creates design, animation, have launched design, animation and album, Guero, designing the logo for and Partners and Berlin Cameron. for MTV and the Rock Band 2 video and VFX for TV commercials, music visual effects company Offspring, also the Undefeated sneaker brand, and Besides Levite, Offspring has game, is slated to air this month. videos, broadcast, installations, inte- in New York. designing the poster for Paul Thomas brought on board executive producer Additional projects in the pipe- grated and interactive media across Case noted that the new studio Anderson’s Boogie Nights. Joanna Fillie and art director/lead ani- line include a major campaign for an multiple platforms. venture represents “an opportunity to Levite has to his directorial credit mator Wes Richardson. take the work that A Very Small Office music videos for such artists as Beck, Fillie has worked with Case over does and keep the design and anima- Interpol, Queens of the Stone Age, Re- the last seven years, the first four at For the Record tion in-house.” gina Spektor, The Stills, Ted Leo and Imaginary Forces, then as supervising In “Building Role Models” (9/12), it was reported that the current Michigan filming incen- Case and van Gastel, who earlier in the Pharmacists, Taking Back Sunday producer at A Very Small Office. Dur- tives package applies to commercials. While that was the original intent of the bill, the final their careers were at bicoastal Imagi- and Tortoise. Prior to Offspring, Lev- ing her tenure at Imaginary Forces, language is not inclusive of spots and won’t be for at least this first year of the new initiative. nary Forces, have assembled an Off- ite served as a creative director at Pro- Fillie produced AICP Show competi- Michigan film commissioner Janet Lockwood is hopeful that commercials will qualify for the incentives down the road.

In “Less Is More For Saatchi” (9/12), it should be noted that director Matt Ogens was with Looking Glass Adds Director Bobo production house Untitled, Los Angeles, when he was awarded the assignment of Toyota’s The Line of Scrimmage documentary shorts series. Ogens has since joined Rabbit, New York, LOS ANGELES—Director Suzuya serve all three.” though he continues to work on The Line of Scrimmage which is being produced by Untitled. Bobo—who’s gained a reputation for Bobo is also co-producer of One short and long-form film and web Brick Film’s first feature entitled A projects she has written, helmed and Woman Called Job, for which she produced—has signed with Looking raised over half of the film’s financ- Glass Films, Los Angeles, for exclu- ing and directed the 2nd unit while CLASSIFIEDS To place classified ad simply email ad copy to: [email protected] sive U.S. spot representation. This on location in Cape Cod. The film is Your reply will contain price estimate and PDF proof of ad for your review. marks her first commercial produc- currently in postproduction. Print classifieds run online for 30 days as FREE bonus with email distribution on tion house affiliation. Bobo got her podcasting start while SHOOT >e.dition every Friday during 30 day period online. Most recently, Bobo directed a spec working with Tikibartv.com and sub- For further info/rates/deadlines go to www.shootonline.com/go/classified spot marking the onscreen debut of sequently was profiled in a four-page EMPLOYMENT supermodel Cole Mohr (the face of Vanity Fair center foldout article en- Marc Jacobs’ new campaign for men titled “Who Needs a Network?” EXECUTIVE PRODUCER, SALES & MARKETING and women). The spot was co-pro- Bobo joins a Looking Glass Films’ Digital Domain seeks ad industry insider & highly driven sales/marketing duced by artist Natalie Rodgers, and Suzuya Bobo directorial roster comprised of David pro for this new position. You’ll work with our independent sales team, shot in New York’s Lower East Side. found on rorymusic.com. Mamet, David Nutter, Alek Kesh- executive producers and senior execs to evangelize our award-winning cre- A CalArts accelerated grad alum June Guterman, Looking Glass’ ex- ishian, Alfonso Arau, Jean-Jacques ative digital production services to the advertising industry. You’ll expand nus from Plano, Texas, Bobo has such ecutive producer, believes the time is Annaud, Steven Antin, Danny Boyle, business relationships, opportunities, and grow revenue. You’ll market and current work on the Internet as The right for Suzuya’s fresh take on adver- Kerry Conran, Chad Einbinder, Ren- identify talent spanning visual effects, design, directing, and live action pro- Rory Story, a reality series chroni- tising. “There’s no need for Suzuya ny Harlin, Anjelica Huston, Marc/ duction to serve our clients, who create advertising content for all forms of cling the adventures of recording art- to unlearn or relearn the rules. The Andy, Francine Mcdougall, Marine media. Minimum 5 years ad industry sales/marketing experience; stellar communication, analytical, presentation and writing skills; proven leader- ist Rory, as she records and tours to lines separating advertising, market- Panossian, Roman Polanski, Jay ship abilities and knowledge of creative & technology trends. promote her EP entitled “Catch Me ing, and branding have been erased Roach, Chris Rock, Mark Simmons, Apply [email protected]. If You Can”. The reality series can be and now well conceived content can and Cliff Watts. Visit www.digitaldomain.com for more.

Senior Editor Zero 2 Sixty, Guerilla FX Sign Hale Award-winning NYC post house seeks high-end promo/com- mercial editor with strong client following. Attractive financial NEW YORK—Director Gregg Hale the Producer’s Guild of America Nova incentives to head up department. Confidentiality guaranteed has signed with New York-based com- Award as outstanding new producer. and required. Please send reel/resume or website info to: [email protected] mercial production company Zero 2 In 2005, Hale wrote and directed Sixty (0:2:60) and its design, effects Say Yes Quickly, which screened in and post partner Guerilla FX (GFX) film festivals nationwide and won best POSITIONS WANTED: REP WANTED for exclusive U.S. spot representation, feature honors at the Indie Memphis New Directors Looking it was announced by 0:2:60 president/ Film Festival. For Commercial Work WANTED: REPRESENTATION executive producer Doug Robbins and Hale co-created the television se- Visit Award-winning sound design company his GFX partner, Thor Raxlen. ries Freakylinks, that combined ele- www.shootonline.com/go/ based in Los Angeles, CA seeks East Hale, who comes over from Chelsea ments of horror, mystery and comedy, newdirectorswebreel Coast Representation for commercials. Please submit resume to: Pictures, where he was represented as for FOX Television and produced the to view SHOOT’s 2008 New [email protected] Haxan Films, has directed national show’s “e-fiction” website. He also Directors Showcase Reel and regional spots over the years for executive produced the FOX remake TECHNICAL SERVICES clients including the 2012 New York of the In Search Of… series that con- City Olympic Campaign, MSG/The Gregg Hale ducted “investigations” into the pseu- Mets, General Mills and Bolt.com. Smart that is just beginning to hit the doscientific and paranormal. TECHNICAL OPERATIONS, INC As a producer, Hale has been active festival circuit. In addition to his commercial and •Maintenance Services for Broadcast and Industrial A/V Equipment in long form, his most recent endeav- Hale worked as a set dresser and film work, Hale is one of the executive • System Integration • Multimedia Services/Manpower • A/V Rentals or being Altered, a sci-fi/horror film prop man on features and TV shows in creative directors at Campfire, New •Free Pickup, Delivery, and Loaners Available which was purchased and released by Orlando and Los Angeles for 10 years York, and remains there to continue 454 West 41st Street • New York, NY 10036 http://www.tech-ops.com Rogue Pictures. and Seventh Moon, before producing The Blair Witch that agency’s work in interactive and (212) 465-1318 • Fax: (212) 465-2318 email: [email protected] a supernatural thriller starring Amy Project in 1999, for which he received online advertising. September 26, 2008 SHOOT 21 News

Director Howard Greenhalgh and the directorial collec- tive Crush have joined the roster of Zoo Film, Hollywood. Greenhalgh had formerly been repped stateside by Be- lieve. He continues to be handled in the U.K. by Home. corp. As for Crush, this is the fi rst time that this team has had U.S. representation....Director Beverley Fortnum has joined the roster of Love, London. She comes over from U.K. house Wanted. Prior to breaking into directing, Fortnum was a leading beauty products creative direc- tor in the U.K., having worked at Leo Burnett, Grey and Saatchi & Saatchi....Amy Lazarus, formerly of Mad River Post, has joined the creative editorial company Bluerock in New York as executive producer, reporting to Bluerock president/ COO Roe Bressan....Director/designer Daniel Garcia has joined pro- duction studio vitamin, Chicago....Ben Fischler has been named VFX supervisor for the CG department of LAIKA/house, Portland, Ore. He comes over from DreamWorks Animation, where he worked as a pro- duction lighter on such projects as Madagascar, Bee Movie, Shrek2, Shrek The Third, and Over The Hedge....New York-headquartered JSM Music has hired exec producers Ross Hopman and Tony Harris. Hop- man returns to JSM where he began his career. He had most recently been at musical management and representation fi rm International Artists Agency, where he worked with such artists as The Wu-Tang Clan, Nas and Peter Murphy. Harris comes to JSM with 10 years of agency experience working at BBDO Detroit and Campbell-Ewald as a broadcast producer....Comma, an original music house based in Chicago, has brought exec producer Vicki Ordeshook on board to head the company’s recently launched L.A. offi ce....

Alturas Film, Santa Monica, has secured indie rep Lori Youmans of Lori and Company to handle the East Coast.... SHH Management, headed by Sarah Holbrook, is now handling East Coast representation for bicoastal editorial house Lost Planet....Cecily Mullins has come aboard bi- coastal Spot Welders as its staff head of sales, East Coast.... Bicoastal music/sound/audio identity house Elias Arts has added rep Danielle Ostrowski for the West Coast. She joins existing West Coast rep Shirley Schackmann. Elias also has a new Midwest rep, Sean Sul- livan of indie fi rm Sullivan Creative....United Talent Agency, Beverly Hills, has signed DP John Lindley. He is now represented by Wayne Fitterman and Pete Franciosa of UTA for features and by Robert Ar- akelian for commercials....Cinematographer Salvatore Totino has completed principal photography on Ron Howard’s Angels & De- mons and is again available for spots via the Skouras Agency, Santa Monica....DP Glynn Speeckaert, S.B.C. recently wrapped the feature fi lm “Je suis parti de rien” and is again available for spots and music videos via Dattner Dispoto and Associates, L.A....

>October 3/Miami, Florida: AICP Show. peggi@ runwaysthetalentgroup.com >Oct. 28-30/L.A.: SMPTE Conference. www.smpte.org >November 13/Richmond, VA: AICP Show. terry.stroud@ lobe.com >November 10/London: London Intl Advertising Awards. www.liaawards.com >November 14/Los Angeles: SHOOT presents: “Music for Commercials & Beyond” panel at THR/Billboard Film & TV Music Conf. www.billboardevents.com >November 19-23/Wellington, NZ: AFCI Cineposium. www.afci.org

22 SHOOT September 26, 2008 If You Had Just One Shot, Just One Opportunity, To Deliver Your Message... Shouldn’t You Take It? P A S S I O N the P O L I T I C S the D R I V E In the competitive world of commercial, interactive & the C R E A T I V I T Y branded content production, getting your Company the noticed by potential clients in the Production and B A C K S T O R I E S Creative departments of Ad Agencies, Production and the Post companies is no easy feat. I M A G I N A T I O N the Get Noticed & Stand Out From The Crowd This Fall. Give It Your Best Shot. This Is Opportunity. Seize It. THE DIRECTORS ISSUE YOUR HIGH-VISIBILITY DIRECT LINK TO PROSPECTIVE CLIENTS

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