SHOOT Digital PDF Version, January 26, 2007 Volume 48, Number 2

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Mekanism Finds Rob Luehrs “Motivation” Accelerates His For Nike+iPod Career With Workout “Shutter Speed” page 16 page 17

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION January 26, 2007 $5.00

Director Steve Chase Directors Doesn’t Pass Go Veteran TV commercialmaker shifts Refl ect On to a new U.S. ad roost, attracted by Go Film principals Robert Wherry, DGA Noms Jonathan Weinstein and Gary Rose. TThehe BBigig GGameame By Robert Goldrich Chase’s career spans American and The five nominees for the Directors Canadian spots, and is highlighted by Guild of America (DGA) Award hon- Super Bowl ads, assorted awards and PPopop CCulture–Andulture–And MMedia–Toedia–To FFigureigure oring the best commercial director a coveted Directors Guild of America of 2006 were announced last week Award nomination PProminentlyrominently IInn SSuperuper BBowlowl AAdd MMix;ix; (SHOOT, 1/19). SHOOT caught up See page 4 with the helmers to get their reflections ::3030 SSlotlot GGoingoing FForor $$2.62.6 MMillionillion on being nominated. Taking A Punch At The LOS ANGELES—“At this point in my Live-Action Spot Market A SHOOT Staff Report life I don’t need the notoriety or the Spot animation house ka-chew! diver- MIAMI—The Super Bowl is an indelible part of main- adulation,” related director Joe Pytka sifies with formation of new venture, stream popular culture, with some academicians of Venice, Calif.-based PYTKA. That’s which secures Ellen Knable as execu- contending that the game—and the commercials why he rarely enters award show tive producer and brings four direc- aired during it—reflect in many respects the tone competitions. After all, he’s already tors into the fold—Gary Johns, John and tenor of our country’s society. Short of getting won the DGA Award for commercials Lindauer, Kirby Dick and Suzanne too esoteric and philosophical about Super Sunday, a record-high three times and has re- Luna—to complement helmers Lori it’s somehow fitting and yet ironic that broadcast ceived 15 nominations, a tally that also Precious and Bil White. Richard Mar- television’s biggest event in terms of audience reach tops all directors. lis oversees both shops. and buzz may help to propel what is arguably pop So why enter the DGA competi- See page 4 culture’s medium of choice, the Internet, and spe- tion this time around? For one, the Ray Feeney Visits The cifically broadband entertainment content. high regard he holds for the compe- For example, the Super Bowl could provide a tition. “The DGA is easily the most SHOOT Chat Room bridge to another significant marketing event about prestigious organization of its kind in The storied visual effects software to unfold in the online space. Though there’s no of- the world. There was a stretch in the pioneer is about to receive his lat- ficial confirmation, word is that some of Anheuser- 1990s when I didn’t enter the DGA est accolade, the Gordon E. Sawyer Busch’s Big Game ad inventory will help promote Awards because I was a little embar- Award—an Oscar statuette--from its online entertainment network, Bud.TV, which rassed by the success I had in the com- the Academy of Motion Picture is scheduled to debut on Feb. 5, the day after Su- petition. But I’ve always respected and Arts and Sciences. He shares his vi- per Bowl XLI in Miami. Bud.TV will include sports, admired the guild tremendously.” sion for the future, an assessment of stand-up comedy and programs of varying lengths. The other factor prompting Pytka today’s technological landscape and Most of the shows on various Bud.TV channels will to again enter the DGA Awards fray looks back on the industry and its have an interactive component. was his emotional attachment to the significant accomplishments. As earlier reported (SHOOT, 9/22/06), the Super work he submitted for consideration: See page 14 Bowl itself was a catalyst for the notion of a Bud.TV Budweiser’s “Clydesdale American Continued on page 12 Dream” for DDB Chicago; Disney’s “Preparation Day” out of Leo Bur- ASC Award-Nominated Continued on page 10 DPs Discuss Their Craft Filmmaking, commercials are Approved Visa Ends Career Limbo For Ahmet prime topics. See page 15 By Robert Goldrich situation raised questions about equi- what was to be a two-week stay. But cause, Rep. Jane Harman (D-Venice, LOS ANGELES—Disproving the tably maintaining the delicate balance when he went to the U.S. Embassy to Calif.) and Parliament member Kate famed Thomas Wolfe adage that “you of civil liberties and national security, get his visa approved for a return to Hoey of the British Labor party. can never go home again,” Ahmet Ah- particularly since this was a case in Southern California, he was informed Ahmet, who is a Brit of Turkish met, a creative director with bicoastal which he had a clear right to return to that he needed a security clearance. Cypriot descent, hadn’t anticipated Imaginary Forces, is on his way back the United States as a law-abiding per- Over the next five months, he and his a problem re-entering the U.S. Six to Los Angeles—along with his wife son and an accomplished professional. family had their personal and profes- years ago he was granted a visa to and daughter—after having been in Grateful to now be able to come sional lives disrupted, with no hint as to come stateside and work at Imaginary limbo for five-plus months, awaiting a home and resume his career, Ahmet when there would be a resolution—even Forces based on his being a talent of visa security clearance to return from was in the U.K. with his family to visit with the help of politicians on both extraordinary ability, with credentials London to his stateside job. Ahmet’s his seriously ill mother last August for sides of the Atlantic who took up his Continued on page 25 Perspectives

spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Racing Consciousness January 26, 2007 Volume 48 • Number 2 In an installment Zwart of @radical.media who drove funds to be distributed to all 28 South- tries; Chelsea Pictures; Detour, Argyle www.SHOOTonline.com of this column last under the pseudonym “The Royal land clubs. The clubs provide a safe Brothers; Payday/Need Financial; EDITORIAL Publisher & Editorial Director month (12/15), we Speed Bomb.” Finishing second was haven for kids primarily after school, The Camera House; Cutters; Jigsaw; Roberta Griefer 203.227.1699 ext 13 [email protected] promoted the first annual Downhill GARTNER and affiliated shops tight, enabling them to channel their ener- Musikvergneugen; GARTNER; Cut Derby, a soapbox derby race created Outsider and The Viral Factory in gies into art and music programs as + Run; Machine Head; Location Cre- Editor Robert Goldrich to raise funds for The Boys and Girls a car driven by Sully Carter, the 10- well as leadership initiatives, helping ations; Zoic Studios; and Zwart (a.k.a. 323.960.8035 [email protected] Clubs of Los Angeles. The event, year-old son of GARTNER executive the youngsters to make better sense The Royal Speed Bomb). Sr. Editor/Technology & Postproduction Carolyn Giardina which took place on Jan. 7, was a ma- producer and AICP/West president of where their skills and talents lie. Canova expects the Downhill 323.960.8035 [email protected] jor success made possible by assorted Rich Carter. AICP/West was a major Canova’s assessment of the event Derby to be an annual fund-raiser. Associate Editor participants from the spot- Nicole Rivard 203.227.1699 ext. 16 [email protected] making community. Josh Canova of Detour Films expects the Downhill Derby to be an The derby was the Associate Editor annual fund-raiser for The Boys and Girls Clubs of Los Angeles. Ken Liebeskind brainchild of Josh Canova, 203.227.1699 ext. 17 [email protected] owner/executive producer of Detour supporter of the event. Third place bears repeating. As he articulated in The event steering committee for the Contributor Films, Venice, Calif. According to winner was a car sponsored by edit last month’s column, “We are helping successful first go around consisted of Christine Champagne Canova, a little more than $44,000 house Cutters and driven by editor a worthy cause. We researched orga- Canova, Linda Rahn of the Boys and ADVERTISING was raised for The Boys and Girls Nadia Hennrich. nizations that help under-served and Girls Clubs/L.A. Alliance, Robert Yni- 21 Charles Street #203 Westport, CT 06880 USA Clubs, with some 1,500 people in at- Garnering the best design award underprivileged kids and found The guez, race director of the All Ameri- East/Midwest/Canada tendance throughout the course of was @radical for its “Cuban Cigar” Boys and Girls Clubs to be efficiently can Soapbox Derby, AICP’s Steve Robert Alvarado 203.227.1699 ext. 15 [email protected] the day. The event even received lo- auto, aptly named because the driver run with funds and resources going Caplan, Rich Carter of GARTNER, International cal TV news coverage from the ABC, and handler both showed up dressed directly to programs that support and Anne Kurtzman of davidandgoliath, Roberta Griefer 203.227.1699 ext. 13 [email protected] CBS and Fox channels. like Fidel Castro and the car looked nurture youngsters. It’s a chance for Jennifer Smieja of Wieden+Kennedy, Proceeds were raised largely like it had smoke coming out of it as the industry to simply give back to Ali Hileman of Mirror Films, Sue West Coast Carl Gilliard through sponsorships of cars and it raced downhill. the community we live and work in.” Crain of Argyle Brothers, Mel Mathis 818.763.2678 [email protected] participating in the race. Taking first But the big winner was The Boys The companies who sponsored cars of The Camera House and Christie Classified & Advertising Production Manager place in the derby was director Jeff and Girls Clubs of Los Angeles, with included: @radical.media; Bob Indus- Cash of Cut+Run. Kelly Boyle 203.227.1699 ext.14 [email protected] OFFICES Main Offi ce 21 Charles Street #203 POV Westport, CT 06880 USA 203.227.1699 Fax: 203.227.2787 By Philip Cooke West 650 N. Bronson Avenue, Suite B253 Los Angeles, CA 90004 USA What Makes Us Laugh? 323.960.8035 Fax: 323.960.8036 Circulation Gerald Giannone The Globalization of Humor 203.227.1699 ext 12 [email protected] Editorial Production Manager/Shoot Reprints and Since Wyndham about ridicule. Comparing something definitely have fewer problems culture, politics and geography. Plus, Article Rights Michael Morgera Lewis coined the term “global vil- (or someone) better to something based on misunderstanding. Basi- the fact that it’s difficult to do creates 203.227.1699 ext. 11 [email protected] lage” in his 1948 book “America and worse. In extreme cases, it can result cally, humor is a way of returning writers and directors that must rise to © 2007 DCA Business Media LLC. All rights reserved. the Cosmic Man,” the “globalization” in racist jokes, sick humor or merci- back before Babel. a higher standard. Which may explain No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, of everything has happened. The In- less ridicule. In an age of terrorism, we need the classic (and last) quote from actor electronic, mechanical, photocopying, recording, or otherwise, ternet has slammed the door on pro- The “Theory of Aggressive Re- comedy more than ever. If we’re go- Edmund Gwenn: ”Dying is easy. Com- without the prior written permission of the publisher. vincial thinking. lease,” was a concept championed ing to have a chance to reach across edy is difficult.” For Subscription Service Inquires and Subscription Orders, Please call: Today, you can find American by Sigmund Freud, who identified the cultural divide, comedy may be Director Philip Cooke is a founding 1.847.763.9620 brands in the heart of Africa, cell comic pleasure with the release the best method because it’s a simple, partner in production house TWC, SHOOT (ISSN# 1055-9825) printed edition is published bi- weekly except in January, July, August, and December when phones working on a train through from adult inhibitions. common language that transcends Santa Monica. published monthly) for $125.00 per year by DCA Business Media LLC, at 21 Charles Street, Westport, CT 06880. Printed Eastern Europe, and wireless net- The “Theory of Play” encompasses periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to working in the Yukon. fun, good natured kidding or jest- SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. The globalization of humor has ing. This theory was suggested long Flash Back USPS (06-234) followed, but what makes something ago by Aristotle. The “ridiculous” is January 18, 2002 The final vote saw London-headquartered For SHOOT custom reprints please contact Michael Morgera 203.227.1699 ext. 11 or email to: mmorgera@ universally funny? whatever is out of time and place, but Bartle Bogle Hegarty, with a stateside office in New York, win Levi’s shootonline.com “There are all kinds of humor”, without danger. coveted U.S. account from TWBA/Chiat/Day, San Francisco, which had SHOOT >e.dition published weekly except in January, garnered the business back in 1998....Filmmaker Terry Zwigoff, whose July, August, and December when twice monthly. states Dan Rupple, who has taught When I asked Dean Batali (seven iSPOT, the digital newspaper for broadband video humor at several universities and is years as a writer on That 70’s Show) feature Ghost World recently earned nominations from the Golden advertising, is published weekly on Wednesdays. For a producer/writer with Padded Room about comedy, part of the discussion Globe Awards and the American Film Institute’s inaugural AFI Awards, further information go online to www.shootonline. com/go/ispot TV. To paraphrase Groucho Marx, turned serious. “There is something has entered the spot arena, coming aboard Independent Media, the SHOOT is produced in the U.S.A. “People laugh in many different ways very communal about getting a Santa-Monica-based production house headed by executive producer SHOOT is a member of and cry in only one.” bunch of people to laugh at the same Susanne Preissler.... A look into comedy theory offers a thing,” he says. “That’s probably different number of reasons why we why they add laugh tracks to some January, 24 1997 Editors Igor Kovalik and Robert Ivison, both laugh. The “Theory of Incongruity” is shows—to make people think they are with Los Angeles-based Rock Paper Scissors since 1994, have formed the concept of surprise and irony--an agreeing with other people on what’s their own commercial boutique, Inside/Out....Ziv Gidron, former event that isn’t logical or rational. This funny. But the truth is, I find com- executive producer of Hispanic commercial production house Paso theory was actually developed by phi- edy a good way to prepare people for Doble, Los Angeles, takes the helm of two new Santa Monica-based losopher Immanuel Kant, so next time deeper meaning.” ventures—Framework Productions and Framework Editorial....Laurie someone calls your “ironic” commer- Comedy is a unique code that Irwin, most recently an executive producer at J. Walter Thompson, cials low class have them look up Kant. all cultures understand. If the world Chicago, has been promoted to director of broadcast promotion. The “Theory of Superiority” is would have one language we would 2 SHOOT January 26, 2007

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People & projects Steve Chase Places A To-Go Order, Changes His U.S. Roost By Robert Goldrich the Directors Guild of America (DGA) producers/partners Robert Wherry, able operation they have created in the marketplace.” HOLLYWOOD—Steve Chase, the di- Award (as best commercial director of Jonathan Weinstein and Gary Rose— while still being able to keep it among Chase’s directorial pedigree also rector formerly of Santa Monica-based 1995), and become known for people- all have sales/marketing chops and the top production houses in the busi- includes extensive work on the Super Reactor Films, has joined bicoastal Go based comedy in the American ad track records of helping to build and ness,” said Chase who quipped, “They Bowl, including such Bud Light spots Film for U.S. spot representation. He market while carrying more of a gen- support directorial careers. [Robert, Jonathan and Gary] sold me as the “I Love You” man fare, the continues to be handled in Canada eralist’s reputation spanning humor, “I could have gone with a bigger on the company with their energy “Paper or Plastic” spot in which guys by The Partners’ Film Company, drama, action/adventure, cars and company but ultimately I liked the and enthusiasm. And if they can sell strapped for cash elect to buy beer in- Toronto. The Southern California- problem solving in Canada. three guys and the smaller, manage- me [on the company], they can sell me Continued on page  based Chase has recently wrapped a Up until now, Chase’s U.S. spot- Buick spot starring Tiger Woods for making was done with the support McCann Erickson, Detroit—which he of production industry veteran/en- Ka-Chew! Packs Live-Action Punch produced independently after exiting trepreneur Michael Romersa at Reac- Reactor and before joining Go—and a tor and other previous related shops. By Robert Goldrich Nickelodeon, Skechers, MTV) and Bil pendent consulting/rep firm eka. She humorous Cadbury Caramilk choco- Similarly the director has had stabil- HOLLYWOOD—Animation studio White (Easton, Lipton’s, Land’s End, has repped assorted leading directors late bar commercial via Partners’ for ity in Canada with Partners’ being his Klasky Csupo’s commercialmaking and a viral campaign for the Newport over the years and is perhaps best shop ka-chew! has expanded its reach Beach Film Festival) who are experi- known for serving as national sales Steve Chase’s career into live action with the formation of enced in multiple disciplines, includ- manager of the former Coppos Films Punch Company. ing live action. as it grew into prominence. accomplishments Veteran rep Ellen Knable has been Richard Marlis, executive VP of Natalie Renard, who is ka-chew!’s include a DGA Award named executive producer of Punch ka-chew! who oversees both that senior producer, will additionally as- while also overseeing its national sales company and Punch, explained, “Ka- sume the head of production mantle spot nomination. efforts. She will additionally run the chew! has a renowned reputation in for Punch. sales and marketing efforts in the West animation and design but has lacked agency MacLaren McCann, Toronto. sole home over the years. However, and Midwest territories for Punch and the identity for live action. The cre- Helmers Chase is part of a select field of Chase exited Reactor to explore other animation shop ka-chew!. ation of Punch expands the identity of Johns is an accomplished direc- commercial directors who can boast U.S. options, saying he was looking Punch has brought into the fold ka-chew! in the live-action arena. The tor, having made his initial indus- career longevity, having started out as for a company with sales leadership directors Gary Johns, John Lindauer, addition of Ellen and the new direc- try mark as an agency creative at a helmer some 18 years ago in Canada and a boutique feel. He feels that he’s Kirby Dick and Suzanne Luna. Also tors contribute an array of talents to TBWA\Chiat\Day, Los Angeles. He and then moving stateside a couple of found both at Go, citing the fact that on the Punch roster are mainstay ka- an already proven team.” and creative colleague Jeff Gorman years later. He has been nominated for the company’s principals—executive chew! helmers Lori Precious (spots for Knable comes over from her inde- Continued on page  GS&P Brings Sexy Back Into John Marshall Takes Over Volunteering For PSAs Sole Ownership Of Villains

Campaign Shows San Francisco Residents That Giving Is A Beautiful Thing By Robert Goldrich production house Savant headed by BEVERLY HILLS—Executive pro- partners/executive producers Joby By Nicole Rivard ducer John Marshall has assumed Barnhart and Jamie Miller, both for- SAN FRANCISCO--Goodby, Sil- sole ownership of Villains, bringing mer heads of production at Villains. verstein & Partners (GS&P), new executive and directorial talent Savant has moved into the Beverly San Francisco, went above and into the Beverly Hills-headquartered Hills complex that houses Villains; beyond the task San Francisco production house, as well as establish- and while the two companies remain Mayor Gavin Newsom recently ing a relationship with another shop. separate entities, Villains is providing posed—to create a campaign for He takes over the stake in Villains Savant with operational, financial and non-profit SF Connect as a call previously held by partner/executive management/advisory support. The to action for the city’s residents producer Robin Benson who recently arrangement is akin to what Villains and area volunteers to “give a #,)#+(%2%4/6)%730/4 exited to form her own venture, Com- had with bicoastal Smuggler for three day to San Francisco.” Instead of pany, which is currently operating years, after which Smuggler went just a campaign, “Volunteering “Mural” demonstrates when you feel good volunteering, you look good. out of interim quarters in Los Angeles off on its own into production house is Sexy”—consisting of print ads, writer at GS & P. ing. King had a lot of experience and maintains a roster which consists prominence. Savant has a directorial three spots, a micro site, t-shirts He admitted that the task to working with orphans in places of several former Villains’ directors roster which consists of the Waytion and bumper stickers, the agency say something completely new like Africa and India. (including Philippe Andre, Fred Goss, collective as well as Eric Hillenbrand, created a movement. about volunteering was fairly “It’s funny, but at one point Jeff Thomas, Harold Zwart, Sara Ma- Richard Carroll, Jimmy Diebold, Mat “Any media we got was do- daunting. “When you think about she mentioned all the mileage randi and spot representation for fea- Carter and Jake Knowles. Savant nated, so whatever we did had all the public service campaigns she’s gotten meeting interesting ture filmmakers the Coen Brothers). opened last year and the company has to work extra hard. The founda- out there, what approach hasn’t people (mostly guys) when she Marshall has retained several since produced work for such agen- tion for the campaign became already been taken or beaten to would bring up her amazing ex- Villains’ directors and added to the cies as TBWA\Chiat\Day, Los Ange- more of a grass-roots effort with death?,” he said. periences as a volunteer. Inevita- shop’s lineup of helmers. Staying on les, Wexley School for Girls, Seattle, T-shirts and stickers bearing our Art director Nancy King also bly, her stock would go up a few are directors Dewey Nicks, Mona and McKinney, Raleigh, N.C. “volunteering is sexy” line. Hip pointed out that the effort not marks,” explained Northrop. El Mansouri and Terry Rietta. And Getting back to Villains’ core ros- stores and boutiques all over only had to get noticed and in- “We both realized there’s a real entering the Villains’ fold is director ter, Nicks is an accomplished helmer San Francisco are now selling the spire action, but it had to reso- human truth in that when you Basil Schlegel. Also coming aboard who’s been with the company since shirts and we’re starting to see nate across the incredibly broad give of yourself, you feel good. is executive producer Nancy Os- 2004. He received a Directors Guild the stickers show up in unexpect- demographic of San Francisco. You feel confident. And when borne, who previously served as an of America (DGA) nomination as best ed places. It started to feel more The creative team started from you feel good, you look good. executive producer at Uncle, Santa commercial director of ‘99 while at like a movement than just an ad scratch and thought hard about Because giving of yourself is a Monica, and prior to that at FM bicoastal Epoch Films. He became campaign,” said Ronny Northrop, what felt real in regard to their beautiful thing. Sexy, even. We Rocks, Santa Monica. a DGA nominee on the strength of associate creative director/copy- own experiences with volunteer- Continued on Page 25 Furthermore, Villains has formed Ameritrade’s “Let’s Light This Can- a strategic alliance with commercial Continued on page   SHOOT January 26, 2007

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Reactor Signs Director Rob Luehrs Short Takes By Robert Goldrich Euro RSCG Tonic division, where he PAY IT BACKWARDS SANTA MONICA—Director Rob has turned out assorted notable spots, Whereas the “pay it forward” mantra is to pass good deeds along, Luehrs has landed his first career including the VESIcare “Pipe People” the antithesis of that is exhibited in Comcast’s “Cranky” in which production house roost, signing with campaign which earned One Show an office employee, upset by his woefully slow Internet connec- Santa Monica-headquartered Reactor Gold, among other accolades. tion, snaps at an elderly co-worker, mimicking her jolly greeting, Films for exclusive spot representa- Prior to Euro RSCG, Luehrs was a “How’s it going, Frank?” As tion. He exits his staff creative direc- creative director for U.S.-based Ger- an upbeat tune plays in the tor post at Euro RSCG Tonic, New man jeans company H.I.S., having a background, the now an- York, but will continue to be involved hand in such work as a commercial gered woman moves into creatively in select projects for the titled “Crop Duster” that went on to the hallway, knocking a cup agency on a freelance basis. Luehrs’ gain Clio Award recognition. of scalding hot coffee from prime focus will be his directorial ca- Luehrs said he decided to join the hands of a man. The cof- reer at Reactor. Reactor based largely on Romersa’s fee splashes on the face of Rob Luehrs Over the past year and a half, Lu- track record in nurturing directo- another guy, who tackles the ehrs in his spare time fashioned and high production value,” said Luehrs. rial careers and his commitment to original coffee drinker. #,)#+(%2%4/6)%730/4 financed a spec reel to showcase his “The stakes were high in that the reel “help me build a great reel.” Luehrs The chaos escalates as an of- helming prowess. Included in the mix is designed to set the standard which also cited Reactor’s sales force, which fice intern smashes a lady’s porcelain cat figurine and then a woman is a Nike spec commercial, “Shutter reflects what I can do as a director.... includes independent rep Peter Mc- jumps on a flailing man’s back, scribbling permanent marker doo- Speed,” which is featured this week in I’m gratified that several top produc- Cann on the East Coast and staff West dles on his bald head. Another male throws a computer hard drive SHOOT’s “The Best Work You May tion houses were drawn to the work.” Coast rep Tommy Romersa. housing through an office window. By sharp contrast, a young, Never See” gallery. At press time, Luehrs had a pend- And while Reactor has no formal fresh-faced man sits in a peaceful, colorful office--just one floor Reactor owner/executive produc- ing Reactor job in the works, a music representation in Canada, Michael below the havoc. He enjoys Comcast’s speedy, hassle-free Internet er Michael Romersa was favorably video for Audioslave. Helping bring Romersa has ties to that market dat- connection supported by McAfee security. The spot, titled “Cranky,” impressed with Luehr’s spec spots, him into the project was Helyn Tay- ing back to his affiliation with The is one of three directed by Tom Routson of bicoastal Tool of North noting that they reflected not only lor, a former talent negotiator for Partners’ Film Company, Toronto, America for The Richards Group, Dallas. Jennifer Siegel and Brian filmmaking but also advertising sen- Euro RSCG. Taylor’s Hollywood busi- and its now late founder Don McLean. Latt executive produced for Tool, with Caroline Pham serving as sibilities, dovetailing well with each ness now deals with procuring and Luehrs reasoned that Romersa’s abil- producer. The DP was Larry Fong. The creative ensemble at The client’s brand personality. (The other lining up talent for various projects. ity to get choice creative projects Richards Group consisted of creative director/copywriter Lennon spec ads were for Ford and a Mega- Luehrs joined Euro RSCG New from Canada is another dynamic that Courtney, copywriter Tom McDonough, art director Bo McCord Millions lottery client.) York eight years ago as an art direc- figures to help advance him as a direc- and producer Byron Fitts. Editor was Keith James of Red Car, Dal- “For my spec work, I went with tor, moving up the ranks to become tor, hopefully leading to other oppor- las. Visual effects were done at Red Car’s Dallas and Santa Monica three high-concept story spots with a creative director at the agency’s tunities in the American ad arena. facilities. Colorist was Matt McClain of Filmworkers Club, Dallas. Composer was Brian Flores of The Listening Chair, Dallas..... ARTISANS MEDIA DISTRICT Über Content Lands Field Of Its Dreams The Los Angeles City Council has designated Venice, Calif., as an of- ficial “Media District.” The brainchild of mixer Robert Feist, owner LOS ANGELES—Über Content has with that company in 2002, the year to be screened at Sundance and at the of audio post house Ravenswork Studios, the Venice Media District signed award-winning director, pro- he received the Oscar nominations Museum of Modern Art, New York, has been created “in response to the changing business landscape” ducer and writer Todd Field for for In The Bedroom. Recently after for its series on “New Directors, New in the beachside community. According to Feist, the Venice Media exclusive U.S. spot representation. completing work on Little Children, Films.” Then he directed Nonnie & District has specific goals, including: to create networking oppor- Field made his feature film debut at he asked around about possible as- Alex, which also made Sundance, gar- tunities and business-to-business awareness; to raise awareness of the Sundance Film Festival with In sociations. “I heard very good things nering a Special Jury Prize for shorts, the Media District through city designation and promotion; to at- the Bedroom, an internationally ac- about Preston and Phyllis from so and such honors as the Franklin J. tract business & entrepreneurs to the area; and to create a vehicle claimed movie that was named best many people, it made Über Content Schaffner Award for Excellence from for nonprofits to access the assets of the Media District. Member picture of the year by The New York the AFI. companies for the Venice Media District encompass such services Times and the Los Angeles Film Crit- Subsequently Field started to get as production, editorial, music, sound design, animation, voice act- ics Association, among others. It went director-for-hire offers, which didn’t ing, special effects, graphic design and photography..... on to receive five Academy Award appeal to him. However, he also be- nominations, including for best pic- gan getting opportunities to act again, PEOPLE IN THE NEWS ture and best screenplay (written by based on a film he had acted in earli- Saville Productions, Beverly Hills, Calif., has signed noted direc- Field and Rob Festinger). er, Ruby in Paradise, directed by Vic- tor/cinematographer Miles Goodall of Suburban Films, Cape Town, Field’s latest feature endeavor, tor Nunez. Field performed in several South Africa, for exclusive U.S. spot representation. Goodall-di- Little Children, recently garnered movies, perhaps most notably direc- rected spots have garnered recognition from the Cannes Lions, Golden Globe nominations for best tor Stanley Kubrick’s final film, Eyes the Shark Awards, the Clios and motion picture drama, best actress Wide Shut. During the making of that the New York Festivals, among (Kate Winslet), and best screenplay movie, Field had conversations about other assorted competitions. (Field and Tom Perrotta). The film filmmaking with Kubrick. These talks He has helmed commercials for has also received a screenplay nod helped solidify Field’s commitment to such clients as BMW, Samsung, from the Writers Guild of America. get back into filmmaking, and he em- Volkswagen, Lexus and Ameri- “I’m truly honored that Todd Todd Field barked on In the Bedroom. can Express.....Jen Sienkwicz is sought us out and chose Über to rep- sound like an excellent fit,” Field re- “Filmmaking is a tactile thing, it’s set to join editorial/visual ef- resent him,” said executive producer called. “Sitting down with them con- a verb, you have to do it,” said Field, fects boutique Outside/NY as Phyllis Koenig, who is partnered in firmed that.” who is hopeful that commercial proj- Miles Goodall senior producer. During a pre- the company with executive produc- After working as an actor for sev- ects will inspire his continued growth vious six-year tenure at Crew er Preston Lee. “He’s a remarkably eral years, Field decided to make a as a director. Cuts, New York, she held the same title while working on assorted gifted master filmmaker.” career change and enrolled in film Field rounds out an Über Content projects, including spots for such clients as G.E., Frito-Lay Brands, Field has long been interested in school. He started making shorts in roster that is comprised of directors Visa, Pepsi and Gillette. Sienkwicz is also an alumnus of Jump, New exploring spot opportunities. In fact, ‘92 as a directing fellow at the Ameri- Jordan Brady, Stewart Hendler, Ra- York, where she produced campaigns for AT&T, Xerox, Merrill Lynch he was briefly repped by bicoastal/in- can Film Institute (AFI). His six-min- maa Mosley, Sean Mullens, and Marc and 7-Up, among others..... ternational @radical media, signing ute-long When I Was a Boy went on Schöelermann.  SHOOT January 26, 2007

News

Ka-chew! Diversifi es With Punch Legalease

Continued from page 4 among others, and virals for clients including This Film Is Not Yet Rated, By Jeff rey A. Greenbaum then became a lauded directing team that include Kia and Novellua. an investigation into the Motion Pic- at Johns+Gorman Films, with each While Johns and Lindauer are ture Association of America’s rat- then going on to successfully launch well known in the spot arena, Dick ings system. That project debuted at solo helming careers. Johns’ direc- and Luna are breaking into the com- Sundance last year. Dick also helmed Creating Some Buzz torial credits include spots for such mercialmaking ranks. Luna currently Twist of Faith, which went on to gar- Advertisers are increasingly turning to “buzz marketing” to commu- clients as Lexus, Nike, Coca-Cola, directs shorts for The Jimmy Kimmel ner an Oscar nomination in ‘05 in the nicate with today’s consumers. These consumers are watching (and adidas, AT&T, Honda, Sprint, Pepsi, Live Show on ABC-TV. She has some documentary category. posting) videos on YouTube. They belong to social networking sites Apple, Reebok and Range Rover, as spot credits under her belt, including Independent reps Schaffer/Rog- such as mySpace. They have avatars on Second Life. They have their well as a six-minute film titled The Do- work for Seattle Auditors and for Par- ers and Ann Asprodites continue to own blogs. And, the theory goes, they are less susceptible to being infl uenced by traditional advertising campaigns. nation for Ford, which debuted dur- tyPoker.com. Luna has additionally handle, respectively, the East Coast Buzz marketing--also called “word of mouth” marketing--encom- ing the 2003 season premiere of the directed various original off-Broad- and the South for ka-chew!, and now passes a wide range of offl ine and online activities where advertisers hit primetime series 24 on the FOX way theater productions. assume sales responsibilities in those encourage consumers to spread the word about their products, mak- Network. That installment of 24 ran Dick has directed several films, same markets for Punch as well. ing these consumers powerful endorsers of their products to their own without commercial interruptions as network of friends. the first half of The Donation ran just before the episode, with the second Villains Starts New Chapter Commercial Alert’s Complaint half of the short shown right after The controversy here isn’t about friends who happen to share informa- the episode’s conclusion. The Dona- Continued from page 4 Lion), as well as inclusion in SHOOT’s tion about products they like. Instead, organizations such as Commer- tion, which came out of JWT Detroit, dle,” “I Just Want To Be Held” and “The Best Work You May Never See” cial Alert say that consumers are being deceived because advertisers was done while Johns was seeking a “Square Dance” for OgilvyOne, New gallery (“Happy Ending”); he also di- are engaging in buzz marketing campaigns, but the consumers do U.S. spot roost—well after he exited York, and Union Bay’s “Rocket Man” rected some Mill Valley Film Fest work, not realize that they are being advertised to. This can happen in many ways. An advertiser may hire someone to pose as a consumer to par- Johns+Gorman. for Toth Design and Advertising, which caught the attention of Villains ticipate in blogs and other online discussions to promote a product, Also well established in spots is di- New York and Concord, Mass. Over where he has since helmed assorted without disclosing that the consumer is actually a paid endorser. rector Lindauer who comes over from the years, Nicks has helmed spots for commercials, as well as branded en- Undisclosed buzz marketing can also take place, for example, when an bicoastal Believe Media, where his fi- such clients as Budweiser and San tertainment fare last year for Samsung advertiser distributes videos on the web that look like consumer-gen- nal project was a Zicam spot for Mc- Peligrino, among assorted others. (www.anyfilms.net’s series of shorts) for erated content, but were really fi nanced by the advertiser. Cann Erickson, Los Angeles. Other Rietta started out on the agency side Margeotes Fertitta Powell, New York, The Federal Trade Commission (FTC) recently said, in response to a recent Lindauer-helmed fare includes of the business, having served as a cre- and Boston-headquartered interactive petition from Commercial Alert, that it would not issue specifi c guide- a Chrysler commercial for BBDO ative director at Hill Holliday, San Fran- shop The Barbarian Group (SHOOT, lines governing buzz marketing. Commercial Alert had asked the FTC Toronto. His directorial credits span cisco. While there, his creative contribu- 2/24/06). Rietta has also gained recog- to require disclosures of sponsor involvement, whenever buzz market- spots for McDonald’s, Sony, General tions on behalf of client the Mill Valley nition as of late for his comedy short ing was occurring. Instead, the FTC said that it would examine buzz Mills, Toshiba, Samsung, Land Rover, Film Festival earned several honors film Crank Calls. marketing campaigns on a case-by-case basis to determine whether Honda, Frito-Lay and RJR Nabisco, (One Show Gold, a Bronze Cannes Mansouri, who makes her home in a campaign is deceptive and whether to take law enforcement action. Spain, has helmed spots all over the The FTC did provide some insight, however, into when disclosure of world. Her credits include campaigns advertiser involvement may be needed. Go Film Signs Steve Chase for Unilever, Beck’s and other leading FTC’s Guidance brands across Europe. She also has The FTC said that when there is a connection between an endorser Continued from page 4 Coca-Cola, Nissan, Molson, General prior agency experience as a copy- and a seller of an advertised product that might materially aff ect the stead of toilet paper at the supermar- Motors, Dr. Pepper, Pontiac, Jeep, writer for several European agencies, weight or credibility of the endorsement, that connection should ket, and the “Human Cannonball” ad. AT&T, Coors, Xbox, Tylenol and Den- including Haye Needham+Partners, generally be disclosed. The types of connections that may need to The director’s Big Game credentials tyne. For the latter two advertisers, Lehner+Schumacher and JWT. be disclosed include, for example, when a consumer has been paid to also encompass Mountain Dew; Dori- Chase helmed comedy commercials The German-born Schlegel, known endorse a product or where the endorser is an employee of the adver- to’s, including “Laundromat,” which for the Canadian market—Tylenol’s as a visual storyteller, is well estab- tiser. The FTC said that, “in some word of mouth marketing contexts, helped make Ali Landry a celebrity; “Pistachio” and Dentyne’s “Frozen lished as a director internationally, it would appear that consumers may reasonably give more weight to and Pizza Hut with commercials that Head”—that went on to gain inclusion with extensive work for advertisers in statements that sponsored consumers make about their opinions or have debuted just prior to the Super in SHOOT’s “The Best Work You Europe and the Far East. His credits experiences with a product based on their assumed independence from the marketer.” Bowl kickoff for several years run- May Never See” gallery. include commercials for such clients The FTC explained that if a consumer tells her friends that the speak- ning—most notably the work starring The spots that earned Chase his as Pepsi, JVC, Sony, Visa, Burger King er on her cell phone has great sound quality, or that a new dishwasher Jessica Simpson and the Muppets. aforementioned DGA Award nomi- and Miller Beer. Earlier in his career cleans dishes even when they are not pre-rinsed, those opinions will Over the years, Chase has directed nation were for Bud Light, AT&T, he was repped stateside by Southern matter to people more, if consumers don’t realize that those opinions spots for, among others, AFLAC, Pepsi and Mountain Dew. California shop V12. were paid for. The FTC said that, in those situations, “it would appear that the failure to disclose the relationship between the marketer and the consumer would be deceptive unless the relationship were other- wise clear from the context.” What does this mean, as a practical matter, for advertisers? If you are hiring people to go out and spread the word about your clients’ “Share of Mind Leads products on the streets or in blogs, they should generally disclose that To Share of Market” they have been paid to give their opinions. And if you’re planning on THE DIGITAL NEWSPAPER FOR BROADBAND VIDEO ADVERTISING creating a video to distribute on the web that looks like it was made iSPOT Is Open For Business! by consumers who just love the product, even though it was really cre- Place your banner ad on iSPOT to reach ated by you using hired actors, you may just need to disclose that the the decision-makers of the broadband video is really just advertising. video advertising market. Every Wednesday If you don’t, the next buzz about the product may be FTC enforce- Invest In Your Future Growth. ment action. www.shootonline.com/go/ispot Get low rates, high share of mind, in 2007! } *** Jeff rey A. Greenbaum ESQ. is a partner at Frankfurt Kurnit Klein & Selz, New York. To suggest a future column topic, e-mail him at jag- [email protected]

8 SHOOT January 26, 2007

News

DGA Nominees Refl ect On Their Work, Recognition From Peers

Joe Pytka Bryan Buckley Dante Ariola David Gray Tom Kuntz

Continued from page 1 as many creative giants in advertis- and then again in ‘00. “This is a Ariola “I remember how exciting it was nett USA, Chicago; and the World ing. People like Dusenberry [Phil of business that is constantly changing, This marks the fourth career nomi- to be a part of the body of work that Trade Center Memorial’s “Where BBDO] and Riney [Hal of Hal Riney & there’s huge turnover and the film- nation for Dante Ariola of bicoastal/ helped Bryan get the DGA Award,” Were You?” for TBWA/Chiat/Day, Partners] knew the value of this work making and the creative are changing international MJZ, who deeply values said Gray whose directorial nomina- New York. “I entered not so much for and could make it happen. They also and evolving. It’s cool to know that being a nominee. He observed that his tion now comes on the strength of: me but for the clients and the people came from backgrounds outside ad- you are continuing to do work that is role as a director trying to do justice to the Tribeca Film Festival’s “Trans- behind this work,” said Pytka, noting vertising. Now so many of the agency interesting over the years. a creative concept “can feel like bum- vestite” and “Mugger” for Ogilvy & that emotional storytelling spots like creatives have studied advertising “And the nature of the work nomi- bling through a dark room containing Mather, New York; Fulltiltpoker’s the Budweiser and World Trade Cen- and marketing. They aren’t bringing nated this time is much different than someone else’s furniture.” But he re- “Jesus Throws” out of WongDoody, ter fare aren’t done that much any- the rich outside experience that guys what I did years ago to earn the first gards the DGA Award nomination as Culver City, Calif.; and eBay’s “Born” more. “The 911 Memorial is impor- like Dusenberry and Riney brought two nominations,” he continued. “a compass that tells me I’m heading via London agency Delaney Lund tant-and the Budweiser spot deserved into their advertising. It’s an extra di- “I’m happy to see that change in the right direction.” Know Warren. attention as well. I think emotional mension that’s missing today.” and growth. If you were nominated Ariola earned his latest nomi- Relative to the latter, Gray is appre- storytelling and the people behind it now for the same kind of work you nation on the basis of: Travelers’ ciative the DGA Award competition need to get recognition because that Buckley got nominated for six years ago, that “Snowball” for Fallon, Minneapolis; opened up to foreign commercials in kind of work is getting lost in the mix Bryan Buckley of bicoastal/inter- would be a bummer.” Johnnie Walker’s “Human” from 2003. (Ariola too benefited from this of what’s popular today.” national Hungry Man is the only oth- Buckley’s latest nomination came Bartle Bogle Hegarty, London; policy as his entries included spots The Disney spot also carried per- er nominee in this year’s field to have on the strength of AmEx’s “Animal” and Coca-Cola’s “First Taste” for from BBH, London and W+K, Am- sonal appeal in that Pytka is from won the coveted DGA Award—for from Ogilvy & Mather, New York; and Wieden+Kennedy, Amsterdam. sterdam.) Pittsburgh and the chance to shoot best commercial director of ‘99. This Burger King’s “Manthem” and “More He selected these spots for consider- “Advertising has become global the Steelers before last year’s Super is his third career nomination. Mayo” for Crispin Porter+Bogusky, ation in that they reflected a comedic and it’s great that the DGA has recog- Bowl was a special experience for the “To be recognized by the DGA is Miami. “They represent different range: the visual effects-aided sight of nized that,” said Gray whose entries director. the highest honor for a director,” said types of storytelling, some deploying a guy stumbling down a hill and pick- reflect what he described as “comedy Asked why emotional storytelling Buckley. special effects or musical elements, ing up other people and objects along that is human and which people can is scarce in today’s ad marketplace, Particularly gratifying for Buckley live action and combinations in-be- the way, snowballing into a mass relate to.” Pytka said, “It’s hard to do. It can be is garnering this nomination seven tween. The main consideration for me of man and machine in Travelers’ very fragile and if done wrong can years after his first one; his initial was showing a range of storytelling.” “Snowball”; the esoteric visual humor Kuntz turn exploitative...Also there aren’t DGA nom came for his work in ‘99 of an android delivering a soliloquy as About a year and a half ago, Tom to what it is to be human in the John- Kuntz embarked on a solo directorial nie Walker ad; and the straight-out career, after having been half of a suc- comedy of Coca-Cola’s “First Taste” cessful helming team at Propaganda in which an elderly man finally takes Films and then MJZ with Mike Magu- his first sip of Coke, leading him to ire (currently with The Directors Bu- NewNew Directors Directors seek out other “first” experiences, reau, Hollywood). Now Kuntz, who some of a questionable nature. remains at MJZ, finds himself as an individual director nominated for the YOUR NAME Gray DGA Award. WantedWanted HERE In 2005, David Gray earned in- “In some respects, it’s an affirma- clusion in SHOOT’s New Directors tion of my decision to go out on my Showcase during an event at the own as a director,” related Kuntz who SHOOT’sSHOOT’s 2007 2007 DGA Theatre in New York. Now, earned nominee status based on: Al- he’s a first-time DGA Award nominee toids’ “Fruit Pants” from Leo Burnett 5th5th Annual Annual based on select work from ‘06. USA, Chicago; and Skittles’ “Trade,” “I’m still in a bit of a state of shock “Beard” and “Leaks” for TBWA\Chi- NewNew Directors Directors mixed with euphoria,” said Gray. “To at\Day, New York. be able to come this far in the three There was no grand strategy be- SearchSearch Is Is On! On! years I’ve been directing has been hind the selection of those commer- incredible. The nomination is the pin- cials as DGA entries, said Kuntz. “We ENTER NOW... Visit nacle of my directing career thus far.” just picked the spots we thought were Gray got an earlier taste of having the funniest.” www.shootonline.com/go/showcase a hand in a DGA nomination—and Kuntz added he feels quite lucky for showcase details, entry win—years ago when he was on the in that the edgy humor in his entries requirements and submission form. agency side. Buckley earned the DGA required and received commitment Award in ‘99 on the strength of work from the creatives and the clients. SHOOT’s 5th Annual New which included E*Trade’s “Trimount “Often a brave concept doesn’t sur- Directors Showcase Event Studios” spot on which then creative vive,” he observes. will take place May 23rd director Gray and his partner Gerry “Sometimes the concept and the at the DGA Theater in NYC. For sponsorship info email Graf (now executive creative direc- production are strong but ultimately [email protected]. tor of TBWA\Chiat\Day, New York) people get uneasy and it doesn’t make worked for Goodby, Silverstein & it through the edit. This work did and Partners, San Francisco. for that I’m extremely grateful.” 10 SHOOT January 26, 2007 HD Essentials

By Carolyn Giardina

Royo Named Ascent CTO; Shares HD Insights Santa Monica-headquartered Ascent Media Group (AMG)—whose Creative Services unit includes Company 3, RIOT, Method, POP Sound and other leading brands in commercial post, visual effects and sound—has promoted Jose Royo to the position of chief technology officer. His goal is to provide the overall vision for technology strategy and oversee the execution of all technical aspects of AMG’s operating GET CREATIVE entities. Royo previously served AMG as senior VP, digital services, where he has worked on developing file-based content management services to aggregate, transform and deliver content for broadband, VOD, mobile and other multi-channel opportunities, and on establishing a technology partnership with HP. In his six-year tenure with the com- BUY IN. pany, Royo also headed the Digital Media Center and the company’s New Products Group. I recently met with Royo, as well as Ascent Media Creative Services CEO Bob Solomon. Our discussion included thoughts on a variety of HD topics. We started with the current movement toward a next generation, high definition DVD format. The two competing formats are Blu-Ray Disc and HD DVD. Royo predicted that the winner in this competition would not be evident in 2007. “Maybe 2008,” he opined, adding that Warner Bros.’ announced R&D on a Blu-Ray/HD DVD Hybrid Disc could, if successful, minimize consumer confusion in this space. “I think [the issue of which technology will be the next standard] is put some into it. less to do with consumers seeing the difference [in image quality] and more about value add,” he suggested. “Most consumers won’t have the technology needed for an untrained eye to see the difference. [To that end] Blu-Ray probably has a better shot because they have a bet- ter platform. “The big drivers will be how many PlayStation 3 systems [which are manufactured by Sony and can play a Blu-Ray Disc] are sold,” he said. “If Sony had released it a year earlier, it would have been game over.” He also pointed out that part of the danger of the format war is that “physical media will eventually go away, but it will take a long time.” We shifted the discussion to the DTV transition. Royo believes the industry is capable of meeting the government’s Feb. 17, 2009 transi- tion deadline. “But I think there will be a lot of lobbying to extend the handover,” he said, referring to the fact that at the completion of the transition, the broadcasters are required to surrender the analog channels to the government for auction. thoughtequity.com And to the all important question about HD advertising, Royo ad- mitted, “I’m still amazed nothing has happened. Most broadcasters 866.815.6599 haven’t upgraded their ad playout servers. Who is going to pay for that? It’s amazing that we [typically] watch HD and zero percent of the ads are HD. With the Super Bowl approaching, Solomon then offered his per- A professional licensing firm providing Access as spective on advertising production and the big game. He declined to well as Rights and Clearances to repurpose the name clients, but estimated that at least 80 percent of the company’s world’s finest motion content from Sony Pictures, Super Bowl work would being completed in HD, which has been the HBO Archives, National Geographic, NCAA and case for the past two years. “Would you want to do a standard defi- nition commercial after spending that kind of money on the media other premium libraries. buy?” he pointed out. Prior to AMG, Royo was CTO at Broadband Sports, director of pro- gram, management at Trilogy Software and lead software architect at Harvard University. He holds AM, Ph.D. and MBA degrees from Harvard University where he was a Harvard Baker Scholar and TDK Fellow.

*** SHOOT’s senior editor, technology and postproduction Carolyn Giardina can be reached at [email protected] or at (323) 960-8035.

January 26, 2007 SHOOT 11 News

Super Bowl Spot Preview: Who’s Doing What For Mega Event?

Continued from page 1 & Partners, San Francisco, is acting Another perennial Big Game play- network being viable. The client took as a clearinghouse of sorts for the er is BBDO New York, which has a note of the many website hits its Su- Doritos’ submissions, of which there :45 for FedEx scheduled, as well as per Bowl commercials generated each have been some 1,100. At press time, work for PepsiCo. On the latter front, year. And the number of those hits that field of entrants had been pared a prospective spot for Mountain Dew has grown at an astounding rate an- down to five finalists, with folks free energy drink AMP could make a Big nually. In a mega TV event in which to vote online for their favorite in de- Game appearance; it was directed by the spots are often more entertaining ciding which one will air during the Dante Ariola of bicoastal/interna- than the game itself, Anheuser-Busch Big Game. tional MJZ. Pepsi is also the halftime through its advertising has come to One of the finalists is “Mousetrap,” show sponsor. BBDO New York ad- be regarded as an entertainment pro- a cheese-obsessed spot co-directed by ditionally has pre-game ad fare on vider, particularly in the comedy and Brett Snider and film school gradu- tap for Alka Seltzer, directed by Nigel sports arenas. The launch of an enter- ate Billy Federighi. The duo is no Dick of Hollywood-based DNA, and tainment network thus seems a natu- stranger to such competitions as they Pizza Hut. ral extension, especially considering previously scored exposure for a Con- Robert Goulet stars in Emerald Nuts’ Super Bowl ad. Also becoming synonymous with the client’s longstanding and ongoing verse commercial they helmed, win- bar patrons being presented with a So it behooves advertisers to put the Super Bowl over the years has relationships with entertainment and ning a national contest staged by that season-ending finger food and liba- their best foot forward visually. For been director Bryan Buckley of bi- sports’ properties. advertiser. This time around Snider tion tab of $6,000. instance, Bob Solomon, CEO of Santa coastal/international Hungry Man. DDB Chicago will be a key pro- and Federighi initiated an e-mail blast To get his spot on air Feb. 4, Monica-headquartered Ascent Media For the third consecutive year, he has gram resource for Bud.TV, helping to campaign to their friends and indus- Bona had to win over the public Services, which is parent to several helmed work for CareerBuilder.com create, develop and produce content try colleagues to turn out the vote for who voted over the Internet, as well post houses active in commercials, es- from Kramer Crasselt, Chicago. This for the new venture, along with other their Doritos ad. as two judging teams—one consist- timated that at least 80 percent of the year is a departure from the first two agencies and production houses span- Meanwhile for the NFL, a winner ing of NFL executives, the other company’s Super Bowl work would as the new campaign is shifting from ning spotmaking and Hollywood stu- has already been declared—devout of NFL marketing head Lisa Baird, be completed in HD. the creative featuring the chimpanzee dio talent. DDB Chicago earlier hired Buffalo Bills fan Gino Bona, one of Oscar-nominated (Hotel Rwanda) office workers. Matt Piedmont—a writer-turned-pro- some 1,700 fans who auditioned con- actor Don Cheadle (who’s appeared Lineup card Another advertiser in for the third ducer on Saturday Night Live (from cepts at various stadiums this fall. This in NFL spots) and commercial di- Per usual during this pre-pre-game straight year is Diamond Foods’ Em- 1996-’02) and a writer on such feature is the first TV commercial for Bona rector Joe Pytka of Venice, Calif.- juncture, many advertisers, agencies, erald Nuts out of Goodby, Silverstein films as Joe Dirt—to serve as Bud.TV’s who has professionally done some based PYTKA. (Pytka has directed production houses, post shops and & Partners, San Francisco. The Perlo- executive producer. brochure copywriting. The premise a host of classic spots over the years, other support services are reticent rian Brothers via Biscuit Filmworks, for his Super Sunday ad involves the including assorted ones, which de- about their Super Bowl projects. In Los Angeles, directed the Emerald User-generated content depression that hits all football fans buted on the Super Bowl.) some cases, secrecy has been height- Nuts spot which will air during the Another pop culture media dy- once the season is over. While the Pytka, though, is where the ama- ened as clients don’t want to tip their game’s third quarter and features namic figuring into the Super Bowl Super Bowl is the season’s culminat- teur hour ends. He is directing the ad strategies. Nonetheless, through singer/entertainer Robert Goulet. equation is user/consumer-generated ing celebratory event, it also marks spot that’s based on Bona’s concept. the industry grapevine and other cir- Composing music for the commercial content, which for some might be a the start of six months without pro Also throwing its hat into the cuitous routes, SHOOT garnered de- were Andrew Feltenstein and John euphemism for amateur hour as the football competition. Bona’s ad pitch consumer-generated content ring is tails and a number of credits for some Nau of Beacon Street Studios, Ven- public has been invited to create spots included such scenes as a fan sadly Chevrolet, which has sought pitches of what may emerge during the Super ice, Calif. Editor was Ian Mackenzie of for consideration by such clients as washing off his face paint, another primarily from college students study- Bowl telecast. Mackenzie Cutler, New York. Frito-Lay’s Doritos and the National putting his “Number One” finger in ing marketing and advertising. It re- The now annual rite of Big Game Automotive clients again figure to Football League. Goodby, Silverstein closet mothballs and a group of sports mains to be seen whether the winning advertising is Anheuser-Busch’s 11th be prevalent on Super Sunday. For entry will see the light of day during hour decision as to what spots to run example, Phil Joanou of MJZ directed the Super Bowl telecast. from a pool of commercials (out of dif- a General Motors spot for Deutsch ferent agencies such as DDB Chicago, LA. Honda has three spots (two for its Price tag Cannonball, St. Louis, and Downtown Element hybrid vehicle) airing out of At press time, word was that CBS Partners, Toronto) that have been Rubin Postaer and Associates, Santa was fetching an average of $2.6 mil- produced for possible Super Bowl use Monica. Toyota Tundra will have two lion per 30 seconds of ad time on the promoting such brands as Budweiser, Super Bowl spots directed by Andrew Super Bowl. That figure, if it holds, Bud Light, Bud Select and Bud.TV. Douglas of Anonymous Content for will represent an all-time high, sur- A-B reportedly has bought five min- Saatchi & Saatchi LA, Torrance, Calif. passing last year’s average of $2.5 mil- utes of Super Bowl ad time. Pytka has Director Ulf Johansson of Smith lion on ABC. helmed a Budweiser spot for DDB and Sons Films, London, has at least On the tech front, more ads figure Chicago, which figures to score a Su- a couple of Super Bowl spots sched- to be shown in HD this year than in per Sunday time slot. Among other uled: Snickers’ “Mechanics” for past Big Games, continuing a trend possible candidates in the running for TBWA\Chiat\Day, New York; and a chronicled in the annual study con- A-B ad slots are Jeff Gorman who has :30 for Garmin global positioning sys- ducted by Tom Fletcher of equip- helmed three A-B spots and Dave Mer- tems out of Fallon, Minneapolis. The ment rental house Fletcher Chicago. har who’s directed two (both Gorman former depicts two blue collar work- Per that research, for example, the and Merhar are with bicoastal Sand- ers sharing a Snickers candy bar in a number of HD spots went from 25 wick Films); Mike Maguire of The way that will change both of them for- during the ‘05 Super Bowl telecast Directors Bureau, Hollywood, who ever. “Mechanics” was edited by Tom to 54 in ‘06. Indeed the call to HD helmed a Budweiser ad shot in New Scherma of bicoastal Cosmo Street. action is all the more compelling for Zealand; David McNally who directed Via production house Furlined, the Super Bowl, an event in which an a pair of Bud spots via Villains, Bev- Santa Monica, Ted Pauly directed a inordinately high percentage of view- erly Hills (he has since moved over to Footlocker/adidas job for AKA Ad- ers actually look forward to the com- recently launched shop Company); a vertising, New York, that is a can- mercials. Monday morning quarter- spot featuring a crab protagonist from didate to gain Big Game exposure. backing will include water cooler talk famed creature creator Stan Winston; Among other prospective Super Sun- not only about the Chicago Bears vs. and a Budweiser commercial directed day advertisers are Taco Bell, GoDad- the Indianapolis Colts, but also about by David Kellogg of bicoastal Anony- dy.com, several movie studios, Micro- the best and worst ads on the game. mous Content. soft Vista and Nationwide Insurance. 12 SHOOT January 26, 2007

CHAT ROOM

Ray Feeney Visual Eff ects Software Pioneer To Receive An Academy Award

By Carolyn Giardina In ‘01 the Academy’s Board of Governors awarded Feeney the John A. Visual eff ects software pioneer Ray Feeney has been voted Bonner Medal of Commendation. the Gordon E. Sawyer Award by the Board of Governors Feeney founded RFX Inc. in ‘78 to provide leading edge scientifi c and of the Academy of Motion Picture Arts and Sciences. The engineering advancements for the fi lm industry, many of which are now award, an Oscar statuette, will be presented at the Scien- in widespread use to produce visual eff ects for feature fi lms, television tifi c and Technical Awards Dinner on Saturday, Feb. 10, ‘07. shows and commercials. In ‘95 Feeney launched another company, Sili- Feeney began his career at Robert Abel & Associates con Grail, to facilitate software development in the motion picture in- working on visual eff ects for commercials and feature fi lms. dustry. Silicon Grail’s RAYZ software addressed the postproduction need In ‘88 he received his fi rst Scientifi c and Engineering Award for a digital compositing tool that could be used to effi ciently create from the academy for his part in the development of one visual eff ects for feature fi lms. In ‘02 Apple Computer acquired the tech- of the fi rst motion control camera systems. nologies and continues to incorporate them into Apple products. A second Scientifi c and Engineering Award followed in A co-chair of the academy’s Science and Technology Council, Feeney ‘91 for his work on the Solitaire Image Recorder and two also serves on the academy’s Scientifi c and Engineering Awards Com- more in ‘94 honoring his contributions in developing fi lm mittee and has chaired the Digital Imaging Technology Subcommittee. input scanners and the Cinefusion software implementa- In addition, Feeney is a founding member and director of the Visual Ef- tion of the Ultimatte Blue Screen Compositing Technology. fects Society as well as a SMPTE fellow.

SHOOT: What does it mean to you to be around in 40 years. There needs they are undertaking; the best work television and games]. There is simi- filmmaking that I find extremely ex- have been named as the recipient of to be a uniform mechanism on top is fearless. We are seeing visual effects lar technology in use, but what con- citing because it changes all the rules the Gordon E. Sawyer Award? of the proprietary stuff that makes [a where the quality and quantity of sists the filmmaking craft is unique. and that’s when the more unique cre- “digital negative”] future proof. The work that comes up for consideration As we transition, we need to make ative environment exists. It gives you Feeney: It’s still sinking in. I think academy is known for its archive and is second to none. sure the digital tools allow for the the ability to change your movie after it is an incredible honor. I’m very ap- cares about preserving the cultural collaborative process of filmmaking. release and redistribute it. preciative. The true meaning is still heritage of our craft. We want to be SHOOT: What are the challenges That’s what I think is a significant With the harnessing of these next sinking in. sure movies being made and finished that the industry faces, and what challenge for the adoption of these generation technologies, I see incred- today are going to be around 50 years does the industry need to do to meet technologies. ible opportunities, for the changes SHOOT: You serve as co-chair of the from now. them successfully? that are happening in production are Academy of Motion Picture Arts and SHOOT: What are your predictions as fundamental as when sound was Sciences’ Scientific and Technical SHOOT: What issues or trends do you Feeney: Digital technologies are relative to the direction of the com- invented. The stakes are huge. Digi- Council. What are some of the group’s see in the visual effects industry to- rippling through all aspects of positing space? tal has affected the record industry, current initiatives? the theaters, and it’s getting ready to Feeney is slated to receive truly affect the production tools. The Feeney: I chair the advanced tech- tools are training wheels; they are nology programs committee. One of the Gordon E. Sawyer very much in the early days. If you the latest efforts that we have under- Award—an Oscar statuette look at how the industry changed way now is about the digital mastering with [the advent of] sound, new plac- process, now that movies by and large from the Academy of es were formed, and places went out are not finished on film anymore. The of business. In periods of upheaval, DCI (studio consortium Digital Cin- Motion Picture Arts and there’s room for talent to emerge. ema Initiatives) focused on the needs Sciences—on Feb. 10. I think there is a tendency for for theatrical exhibition—the equiva- ©A.M.P.A.S.® some filmmakers to grab tools before lent of the digital print. The academy they are ready. We see some noble cares a lot about the equivalent of the day? Do you have any prime concerns filmmaking. In the 1990s it really Feeney: I don’t have any. It’s really experiments, but we haven’t seen digital negative—what is the source about the state of the business? changed visual effects. One of the hard for companies to justify core de- this whole thing break through yet. and how is that preserved. We are things that I’m most proud of [in velopment for the motion picture in- It will be a decade before we know trying to get some unique standards Feeney: There may not be a viable Feeney’s pioneering efforts over the dustry alone. It [R&D] is not driven what they really mean. together for digital mastering and business model. The way visual ef- years] is there is not a question that it by a business anymore. It’s driven by [The advent of] sound was a very archiving. That’s a really big issue. fects have been done in the recent is filmmaking. As digital permeates people’s passion. meager start. In the digital world We have a very significant effort at past is changing. There are a lot more the rest of the pieces of the movie in- we are in the equivalent of just past the academy to try to come up with boutiques. There are fewer large 800- dustry, whether we are talking about SHOOT: What are some additional The Jazz Singer. The technologies a mechanism to specify this. There pound gorilla facilities. All the facili- the camera, or digital intermediates aspects of the changing business that that are at hand are so significant, are two major problems. How do you ties are evolving and changing. It is and finishing or theatrical exhibi- interest you? Do you see any special but they are not baked. They are just get the ones and zeros back in the fu- a period of changes of the business tion, the challenge is going to be to opportunities emerging? in the beginning, fragile, a tentative ture? And how do you make the ones model. In terms of the craft. people ensure that the craft of filmmaking step. The technologies and the craft and zeros mean something when the are fearless. There is absolutely noth- survives the transition. There is a Feeney: My personal interest is in need to be nurtured. We have to tools are long since gone. We expect ing that the practitioners believe they difference between making a movie the realm of digital cinema...It’s the make sure moviemaking comes out the tools we are using today to not are not capable of. I look at the work and other entertainment forms [i.e. digital revolution in all aspects of of the other side. 14 SHOOT January 26, 2007 News

ASC Award Nominees Discuss Commercials, Filmmaking

By Carolyn Giardina Zsigmond suggests that shooting With awards season underway in Hol- film and finishing HD is appropriate lywood, the American Society of Cin- for this medium, although he pointed ematographers (ASC) announced its out that if home theater screens are highly anticipated nominations in the going to get larger, “then maybe I will feature film competition; the choices say 2k is going to show up.” also have links to the commercial pro- At press time, Zsigmond was in duction industry. This year’s nomi- prepro on his next feature, Bolden, nees are: Emmanuel Lubezki, ASC, which tells the story of New Orleans AMC for Children of Men; Dick Pope, jazz musician Buddy Bolden. BSC for The Illusionist; Robert Rich- ardson, ASC for The Good Shepherd; ASC Awards Dean Semler, ASC, ACS for Apoca- Last week, the ASC announced lypto; and Vilmos Zsigmond, ASC for Emmanuel Lubezki Robert Richardson Vilmos Zsigmond 10 nominees for top honors in the The Black Dahlia. of the ideas was to treat the movie as torial representation through bicoast- resented for commercials via bicoast- two television categories of the ASC This is the eighth ASC nomination if we were a group of documentary al Tool of North America, was also al/international @radical.media. Awards. The finalists in the Televi- for Richardson, the third for Zsig- filmmakers, and we were just follow- working on a commercial when he sion Movie/Miniseries/Pilot category mond who won in 1993 for the tele- ing the actors. learned of his ASC nomination. The Vilmos Zsigmond are Thomas Del Ruth, ASC for Studio film Stalin, the second for Lubezki “I had an incredible camera op- DP was in New Zealand, shooting a “It feels great. I was so excited and 60 on the Sunset Strip (pilot); Adam and Semler, and the first for Pope. erator, George Richmond,” Lubezki Budweiser commercial with director so honored,” Zsigmond says about his Kane for Heros (pilot); Walt Loyd, “Favorable reviews tend to men- adds. “This nomination is for both of Mike Maguire of Hollywood-based ASC nomination. “It was such a big ASC for The Librarian: Return to tion beautiful images, but that’s a us, and the whole crew was incred- The Directors Bureau. year for cinema with so many good King Solomon’s Mines (telefilm); Bill matter of taste,” says ASC president ible. Especially with this movie, it was Via e-mail, Richardson reported films. I didn’t expect it.” Roe, ASC for Day Break (pilot); and Daryn Okada. only possible with the collaboration of that he has lensed a number of com- The legendary cinematographer, John Stokes for the “Umney’s Last “Artful images can be distressing such a great crew.” mercials over the past few months. who has also maintained a commer- Case” episode of Nightmares and if that’s what it takes to properly af- Steve Scott of Hollywood-based “We just returned from Japan where cial career over the years, primarily in Dreamscapes: From the Stories of Ste- fect the emotional flow of a film. Our EFIlm served as the colorist for the we shot for Sapporo,” he writes. “And Europe, explains that The Black Dahl- phen King (miniseries). members judge whether the cinema- digital intermediate work. “DI allows prior to that I worked with Mike [Ma- ia was shot in Super 35 and achieved The nominees in the Episodic tographer helped to create a sense of you to do so much in postproduction,” guire] on Rolling Rock, as well as two a “classic film noir look, like the old Television competition were chosen time and place that pulls the audience Lubezki relates. “Unfortunately, it al- long format GE mini-films. During black-and-white film noir movies of by their peers based on one episode into the story. We ask how the visual most feels like DIs are in a very young that time period I also shot with Mark the late ‘40s,” of a series. They are Eagle Egilsson language affects the emotional con- state.” Romanek on a Cadillac spot.” The film went through a 4k DI for “Darkroom”/CSI: Miami; Nathan tent of the film. Great cinematogra- “What DI offered, in the case of On his ASC nomination, Richard- process at Hollywood-based Laser Hope for “Killer”/CSI: Crime Scene phy is something you feel.” Children of Men, is peace,” he contin- son says, “This ASC nomination, in Pacific, working with colorist Mike Investigation; David Moxness for Okada also points out that all five ues. “We improvised a lot and some- particular, is recognition from my Sowa. “I really believe there is a dif- “Arrow”/Smallville; Bill Roe, ASC nominees trace their origins to dif- times I couldn’t light with the preci- peers, as to the overall quality of the ference,” Zsigmond says of 4k as com- for “What If They Find Him”/Day ferent countries. Semler was born sion I would like. [DI] relieved some film, The Good Shepherd.” I perceive pared with 2k. “Unfortunately not too Break; and Gale Tattersall for “Mean- and launched his career in Australia, pressure. But the reality is DI is in the this as a collective honor for all de- many people want to admit it because ing”/House. Zsigmond in Hungary, Lubezki in early stage. And the quality of the partments involved.” it is costly. We did tests before [Black The annual ASC Outstanding Mexico, Richardson in the United image is much better if you don’t go The biggest challenge in his work Dahlia], and I really saw a big differ- Achievement Awards will be present- States, and Pope in England where he though a DI. on The Good Shepherd, he relates, ence in the quality. ed during an awards gala on Feb. 18 still resides. “Same with HD, 2k and 4k; every- was “to visualize a hall of mirrors “I think that’s the way to go,” he at the Hyatt Regency Century Plaza SHOOT caught up with some of thing I see is incredible. It’s another and to capture on film what I would continues. “You are not sacrificing Hotel in Los Angeles. There DP Allen the nominees to discuss their nomina- tool, but I don’t think you can com- say is luminous darkness, to bal- the quality. [4k] means films should Daviau, ASC--accomplished in fea- tions, their work, and the state of cin- pare it to film at all. It’s ironic that we ance a hidden/secretive world with look as good as they did in the past. tures (E.T. The Extra-Terrestrial, The ematography for both entertainment are living at a time when film is the the search for soul, and foremost to We should go 4k, maybe we will end Color Purple) as well as spots and re- and advertising. best it’s been, printing is the best it’s maintain the subtle grace of [Robert up with 6k.” cently--will receive the ASC Lifetime been and the [film] cameras are amaz- DeNiro’s] direction.” When asked about resolution and Achievement Award. Additionally, Emmanuel Lubezki ing and lenses are incredible. It’s kind Richardson reported that his advertising, Zsigmond says, “For Donald M. Morgan, ASC (Something Coincidentally, SHOOT connected of ironic that it’s this incredible time next film project would be an as yet commercials, if they are only being The Lord Made, Out of the Ashes) will with Lubezki as he was readying to fly for film and this new technology is untitled Abu Ghraib documentary shown on TV, there is no reason to go receive the first ASC Career Achieve- to Argentina to shoot an undisclosed trying to replace it. I like the idea of helmed by Errol Morris. Morris is rep- to 4k.” ment in Television Award. commercial for directing team Trak- another tool, but it shouldn’t replace tor of bicoastal/international Partizan. film.” He was thrilled with his ASC nomina- Lubezki says that between features tion. “It’s a great honor,” he says. “I he enjoys lensing commercials. “They can’t tell you how happy I was when are a great way to work with different I received the call.” directors and try different things,” he Children of Men was shot on 35mm, says. “It keeps you from getting rusty. primarily on location in and around Every commercial demands some- London. “The biggest challenge was thing different.” to find a language that was appro- As to working with the aforemen- priate for the film and be consistent. tioned directing team Traktor, Lubez- One of the things that worried me the ki says, “They work in a very interest- most was that there were violent, war- ing way. They work two at time but it like scenes; I wanted to make sure we is a group, and they are incredible cre- would not glamorize the violence.The atively and they like to take chances. message [of the film] is war should be They are very good storytellers.” abolished. [But] film likes smoke, and tanks look good on film; we didn’t Robert Richardson want to glamorize it even more. One Robert Richardson, who has direc- January 26, 2007 SHOOT 15 Top Spot of the Week Nike + iPod Look To (Tommy) Means As Mekanism For Spot “Motivation” By Christine Champagne dressed and ready to go but not feel- Means does convey that journey “breaking through the wall” stunt in Running has gone hi-tech with the ing motivated. Who among us hasn’t rather beautifully in this artfully the show, there remained an element Nike + iPod Sport Kit. The system has been in that situation? rendered piece of advertising. of danger. After all, the steel-framed runners inserting a chip into a special But he finally gets up, turns on According to the director, the walls used for the stunt are made of Nike shoe. That chip beams data to an his iPod (choosing to listen to OK spot was inspired by and based on sheetrock and weigh 300 pounds iPod Nano, which records the time, Go’s power pop track “Here It Goes an act from Fuerza Bruta, a spec- apiece. They are scored to help the distance, pace and calories burned in Again” for the U.S. version of the tacular stage show with aerial and actor make the break, but still.… real time as one runs. spot, which is also airing in Asia and acrobatic stunts, including one that Remarkably, the guy did the stunt After each run, the Nano can be Australia) and starts running on an finds a man in a business suit run- sans a harness and emerged un- docked and the information from a enormous treadmill placed in front of ning on a giant treadmill and break- scathed. run can be uploaded projection screens. ing through a wall. Once the shoot wrapped, it was to a server so that a As he runs, we see “We saw the kernel of an idea back to the United States where runner can actually him pass through a there,” Means said, “and we took it the team at Radium, San Francisco, chart his progress. suburban neighbor- and pitched it to Nike.” including Simon Mowry, Inferno That’s a rather hood with white artist/creative director/colorist, got straightforward and picket fences. He picks Argentinian cowboy to work. While Means got most ev- dry description of a up speed on the run Nike gave the go ahead, and Me- erything in-camera, he did rely on breakthrough pro- and literally breaks kanism collaborated with Fuerza Bru- Radium to composite an iPod inter- cess, isn’t it? Actu- through walls as he ta creative director Diqui James, who face onto one of the walls the runner ally, it is exactly the hits new personal is credited as theatrical creative direc- jumped through among other things. kind of passionless bests. Each time he tor on this job, to make “Motivation.” Editor Alan Chimenti cut the spot. talk Mekanism, San breaks through a wall, Describing James as “a wild renegade “He has the patience of Job,” Means Francisco, sought to Tommy Means the scenery changes— Argentinian creative cowboy,” Means said laughing. “He was a rock during avoid when creating and producing a along the way, we see him running said, “You can tell that this is his art. the whole post production process. It new spot promoting the Nike + iPod. through a city financial district and It’s something that although when probably lasted ten days or so, and it “The challenge was to convey [all blazing across a beach. (All of this you watch it you’re not exactly sure was probably ten straight days of all- that information] in a visceral way,” scenery was shot in and around San what it means, it means something nighters. We were all leaning on Alan, according to director/creative direc- Francisco on 16mm.) very, very important to him.” he was holding everybody up.” tor Tommy Means of Mekanism. “We “What I wanted to try to convey So was James nervous about Me- wanted to explain it in a way that got is this journey that you take both kanism toying with his idea? “There people fired up.” geographically and inside your head was definitely a combination of top And they succeeded. You really when you run,” Means explained. flattery and fear,” Means acknowl- can’t help but get fired up after watch- “When I run, I like to listen to mu- edged. “When an artist sees his vi- ing the :60 “Motivation.” Directed by sic and look at stuff, and it takes me sion tweaked, there is a little bit of Spot Means, the spot finds a runner all away. It takes me to this other place, fear going into it. of the week decked out in his running gear sitting and I wanted to try to convey that “But he was so open and so col- on a couch in his living room. He is sense of escapism.” laborative and so excited about the CLIENT whole thing in general that by the Nike + iPod Sport Kit time we got into the process he was PRODUCTION CO./AGENCY definitely leading the charge.” Mekanism, San Francisco Tommy Means, director/creative On the treadmill director/copywriter; Jim Frohna, Means and a crew that included DP; Jas on Harris, executive DP Jim Frohna and motion design producer/creative director/copy- writer; Rod Kilpatrick, copywriter; director Emmett Feldman shot “Mo- Emmett Feldman, motion design tivation” on a soundstage just outside director; Diqui James, theatrical Buenos Aires, using a treadmill from creative director; Sarah Stevens, Fuerza Bruta and relying on theatri- line producer. cal rather than film style lighting. Ninety-five percent of the action EDITORIAL/ POST/VISUAL was caught in-camera. “Because it EFFECTS was based on a theater show where Radium, San Francisco. Alan Chimenti, editor; Simon they actually had a giant treadmill Mowbry, Inferno artist/creative and the walls, we thought, ‘Instead of director/colorist; Stelio Kitrilakis, replicating that, let’s actually shoot it managing director; Jeff Blodgett, like it was a theater production and executive producer; Mary do it in-camera,’ ” said Mekanism’s Ja- Mathaisell, VFX producer; Penny son Harris, who served the functions Krueger, assistant editor; Jennie Burnett, production coordinator; of creative director, copywriter and Orin Green, compositor. executive producer. Spypost, San Francisco. It was a rather complex two-camera Gary Coates, colorist (16mm foot- production that found Means leading age) a Spanish-speaking crew of 150 over AUDIO #,)#+(%2%4/6)%730/4 the course of the six-day shoot. Polarity Post Production, San A performer from Fuerza Bruta Francisco. Mekanism created and produced a commercial that shows how the Nike + iPod combo gets someone jump started to exercise, in this case taking a was cast in the role of the runner, Eduardo Mendoza, mixer. treadmill run and turning it into an excursion of the imagination as our hero reaches new personal breakthroughs in his workout performance. and while he routinely performs the 16 SHOOT January 26, 2007 The Best Work You May Never See Dir. Rob Luehrs Runs Into A Surprise For Nike By Robert Goldrich away for when he eventually would helm it to help advance his longstanding Director Rob Luehrs—who just signed with Santa Monica-headquartered Reac- directorial aspirations. “I liked the juxtaposition of a world class runner with tor Films for spot representation (see separate news story on page 6)—caught the somewhat goofy tourists and an amateur photographer,” said Luehrs. “It’s the attention of several notable production houses via a reel of spec work, including dynamic of when someone takes a picture and they later find out there’s a Nike’s “Shutter Speed,” which is this week’s entry for “The Best Work You UFO in it. There’s a kind of intrigue there. In this case, it led to the ultimate May Never See” gallery. product shot, which we see in the camera viewfinder—only the digital break- Luehrs had been on staff at Euro RSCG, New York, for the past eight years, down can capture the shoe and the runner as he blew past.” initially as an art director and then moving up the ranks to creative director of Luehrs chose Nike because the advertiser is “at the pinnacle of commercial- Euro RSCG Tonic. While he will continue to be involved creatively in select making. If you’re going to take that leap to shoot a spec reel and want to be projects for the agency on a freelance basis, Luehrs maintains a prime focus on able to compete with top talent, Nike for me was a logical choice.” his directorial career at Reactor. Michael Romersa, owner/executive producer of Reactor, gravitated toward Luehrs based on the personal rapport they estab- Tone savvy lished, the director’s agency creative sensibilities and his high caliber spec fare. Luehrs added that an important consideration was to capture the tone of “Shutter Speed” starts out with a mundane slice of life. Two tourists—a man the advertiser, in this case the cool, hip vibe of Nike. “So much of what you’re and a woman—on a bridge ask a young woman to take a snapshot of them. With selling is the tone and the brand’s personality,” he related. “I took the same camera in hand and kneeling down to shoot up at the pair, the gal is about to approach in trying to do justice to the advertiser’s tone in my other spec spots click the picture when a man walking his dog moves through the viewfinder as well [for Ford and a Mega Millions lottery game].” frame. She pauses and just when she’s ready to click off a shot, two women Romersa found that aspect of Luehr’s spec work particularly appealing. “A pass by. Not wanting yet another surprise subject to saunter through her field lot of filmmakers will create spec commercials from solely a filmmaker’s point of vision, the woman puts the camera down at her side. She and the tourists of view, trying to shoot something cool that the audience can hopefully relate look both ways. We see that there’s nothing approaching the bridge from either to on some level,” observed Romersa. “Rob did that but he also approached direction. The gal then gets ready to take the picture. Suddenly, another visual his spec pieces with an advertising man’s eye, keenly aware of the client’s tone perspective takes hold as we see a fast moving motion picture camera move and objectives and the need to appeal to certain targets and markets.” across the bridge, with our POV zipping past the bridge’s guardrails as well as the dotted center line of the road. Client Nike (spec spot) Agency Rob Luehrs, creative director/ The woman then snaps the picture but immediately has a puzzled facial ex- copywriter/art director Production Company Spoon Films, pression as she looks at the digital viewfinder displaying what she has shot. Austin, Texas Rob Luehrs, director; David Wolfson, producer; The tourists then get a look-see, finding that their two-shot is instead a three- Vance Burberry, DP Editorial Outside Editorial, New York Scott shot as a world-class runner has zipped across the frame. The camera allows Gibney, editor; Samuel Barden, assistant editor; Mark Lasko, producer Post Outside Editorial Steve Mottershead, Flame the woman to digitally advance what was captured, revealing the runner’s leg artist/colorist Audio Post Outside Editorial Eric Thompson, bolting through the field of vision and then a foot wearing a state-of-the-art, mixer Sound Design Amber Music, bicoastal/international cool-looking Nike sneaker. Bill Chesley, sound designer The couple and the good samaritan picture taker look perplexed as they gaze down the road. “That’s incredible,” says the guy as the slogan, “Run faster” is supered on screen, accompanied by the nikefree.com website address. credits Luehrs served as director and creative director/writer/art director and fi- “Shutter Speed” captures the tone of Nike. nancier for “Shutter Speed,” enlisting the support of a friend, producer David Wolfson, who provided production support via his Spoon Films in Austin, Texas. The spot was shot in Southern California’s Sepulveda Dam area by DP Vance Burberry. Creative genesis The creative inspiration for the spot came when Luehrs was on a run along a boardwalk, at which he intersected two tourists. An avid runner, he then #,)#+(%2%4/6)%730/4 wrote “Shutter Speed” and tucked the concept

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January 26, 2007 SHOOT 17 iWork Kleenex, JWT New York Want Users To Let It Out In Latest Branding Campaign Web Films And Interactive Site Give Visitors An Outlet For What They’ve Bottled Up

By Nicole Rivard You won’t hear anything about how soft Kleenex is or about its cool oval dis- penser in the brand’s latest campaign. Instead you will see regular people from across the country and London letting out their emotional stories on topics like how they met their mate, coping in the wake of Hurricane Katrina or having a child at the recently launched website LetItout.com. TV spots rolled out earlier this month to steer people to the site. “The message used to be ‘thank goodness for Kleenex’ and they were look- ing for a completely new brand story, one that was able to touch a lot of differ- ent places—TV, online, print, even a live event experience,” explained Richie Glickman, creative director and copywriter for JWT New York. The footage was shot in London, New York, New Orleans and San Fran- cisco and was directed by Brett Morgen of bicoastal Anonymous Content whose recent documentary Chicago 10 was chosen as the opening night film for the Sundance Film Festival. #,)#+(%2%4/6)%70!'% In the web films and spots, we see a “good listener” with a big blue couch on the streets of the various cities inviting passersby to have a seat, talk and open The “good listener” looks on as a passerby unbottles her emotions with the help of Kleenex. up. In case opening up results in happy or sad tears, a box of Kleenex is on hand to wipe them away. “We were able to get a lot of people sitting on the couch spend a million bucks for a song from some established band that would not sharing their stories. We sat 150 to 200 people down and many had compelling have suited the nature of the campaign. “The fact that it’s these three guys is per- stories with a lot of emotion that really came out. In addition to the spots, there fect for this campaign—organic, no celebrity and real,” Glickman commented. are about 20 web films that will slowly be fed onto the site,” Glickman said. Also on the site is a letitout blog overseen by an editor, who will be intro- ducing topics or timely themes that will spark some sort of dialogue. Glick- User participation man hopes to have the site up and running smoothly in February. “The real Other elements are in the works to contribute to the stickiness of LetItOut. challenge is that this was designed and built here but it has to be integrated com, which opens with, “Why do people keep things bottled up inside? It makes with the Kimberly Clark system. That is the thing we are struggling with,” he no sense. Nothing good comes from that. With that in mind, we invite and encour- said, adding that despite any struggles, the project has been satisfying because age you to let it out. Let out your tears, your joy, your anger, your frustration, your the people’s stories were so compelling “The people were very willing to show laughter and even your snot. Why? Because you’ll feel better. themselves, not only to the listener who is a total stranger but on camera and Client: Kimberly ClarkAgency: JWT How do we know? Because we recently went across America on film, especially in New Orleans. Inevitably all stories moved to Hurricane New York Ty Montague, co-president, and watched all kinds of people let out all kinds of stuff. Some Katrina. People were putting it into perspective, exhibiting a lot of strength. It’s chief creative officer; Walt Connelly, Toby of those moments ended up on TV. Others are right here for amazing to see the strength of that community.” Barlow, executive creative directors; Jim your viewing pleasure. So go ahead, check them out—then let He added that Morgen was key in getting people to show themselves. “His Carroll, art director; Richie Glickman, creative director/copywriter; Alexander it out.” treatment and approach were pretty amazing,” said Glickman. “It was his vision Strohm, Hildie Neuman, Scott Hunter, The site is designed as an outlet for user-generated con- to have three cameras going and to shoot HD so we could just be rolling con- Christina Grimes, Tamara Holland-Mar- tent, where people can upload text, photos or videos in re- tinuously, and to really have the cameras pushed back so people weren’t aware tin, account team Production Com- sponse to different questions, like “When was the last time of them. It became a very safe little bubble for them to spill it.” pany Anonymous Content, bicoastal you laughed so hard you cried?” There is also a link to the Watching people “spill it” is resonating with audiences. “I did a Google alert Brett Morgen, director Editorial Mad MySpace page of indie band Starrfadu whose music can be for Kleenex ‘Let it Out’ so when anyone starts blogging, I would be aware of it,” River, Santa Monica, Calif. Mike Elliot/Jim credits Ulbrich/Lisa Mogol/Will Znidaric, editors heard throughout the campaign. Ironically their song, “Let said Glickman. “I am astonished that there are 50 or 60 separate blogs mention- It Out,” was not created for this campaign, although it is a ing it. People are talking, are interested in and like it. The fact that people are perfect fit. Glickman said he loves the fact that they didn’t responding so well is that Kleenex is a brand that belongs in this world.”

There are Three Steps to Reserve Ad Space Today: East/Midwest/Canada Creating Word of Mouth Buzz. Robert Alvarado 203.227.1699 ext. 15 Advertise in SHOOT’s [email protected] West Coast 1. 2. 3. Carl Gilliard Feb. 9 ‘07 Issue Feb. 23 ‘07 Issue March 9, ‘07 Issue 818.763.2678 [email protected] ADVERTISING AGENCY NEW YORK ADVERTISING AGENCY International PRODUCERS CREATIVES Roberta Griefer MUSIC & SOUND PRODUCTION EDITING & 203.227.1699 ext. 13 COMPANIES [email protected] CHANGING POSTPRODUCTION STOCK FOOTAGE & CHANNELS: Recruitment/Classifi ed ROAD TO NAB: PART I Kelly Boyle MUSIC LIBRARIES Digital Media Analysis Sundance Wrap Up Border Watch: 203.227.1699 ext. 14 [email protected] DGA Commercial Winner VES Award Winners Argentina & Brazil Super Bowl Ad Critique Ad Deadline: Feb. 2 Ad Deadline: Feb. 16 Ad Deadline: March 2

18 SHOOT January 26, 2007 VISUAL EFFECTS & ANIMATION

Any Which Way You Scan

The usage of 3D scanning as a technique in visual effects is not a new one, but ketball” was helmed by Stacy Wall of bicoastal Epoch Films. the movement toward more sophisticated visual effects with heightened real- Ring of Fire creative director Jerry Spivack explains that during production Sophisticated ism—coupled with shrinking budgets and shortened production schedules—has the Eyetronics team brought its scanning device to the location shoot, and did prompted renewed interest as well as inventive R&D in this area. This work the scanning betweens setups on the day of the production. has made scanning an option for all purposes—from the construction of detailed “We did full 360-degrees of Lebron’s head and four or five facial expres- 3D Scanning models of talent and full locations to previsualization. sions for each,” he relates. Spivack reports that it took five to seven minutes “The driving force in using per “character,” a plus as they scanning for commercials is had a very short window with Finds Many [that one can create] realistic the athlete. “I like Eyetronics models in a reasonable length because they have a flexible and of time; this also gives the fast system,” Spivack says. “The Applications agency more latitude in cre- flexibility to bring it on set and ativity,” explains Nick Tesi, VP shoot there was really great. A Tof 3D scanning firm Eyetron- few years ago I would not have By Carolyn Giardina ics. “[Scanning coupled with thought of [scanning on Nike additional visual effects tech- “Basketball”] as a approach be- niques] gives the commercial cause of time. For most commer- visual effects team the ability cial schedules, it would not have to do movie magic by having worked.” an object or person do or have Eyetronics supplied the wire- something done to them that frame models, textures and all the would not be practical or pos- other needed information to Ring sible. It also helps the produc- of Fire, which then used this data tion speed by off loading [the in the 3D environment to create modeling task] to a more ef- the Lebron characters. The char- ficient system that allows the acters were then composited into commercial house to put their the final scenes of the commer- CGI talent on other aspects of cial. the project.” Additional spots that were Eyetronics—headquartered produced using Eyetronics scan- in Leuven, Belgium, and with ning include Santa Monica-based a U.S. base in Torrance, Calif.— The Syndicate’s British Telecom has developed and operates a “Network” ad that was a 2005 portable scanning system and nominee for a Visual Effects So- service where the team trav- ciety (VES) Award for outstand- els with the system on set, for ing visual effects in a commercial. scanning of people, objects, Santa Monica-based effects/ani- cars and the like. mation house Method Studios “In most cases we will go to Scanning brought the many faces of Lebron James to life for Nike. used the scanning technique for the set to do the scanning with the actors in wardrobe,” Tesi says. “We have Pepsi’s “Dancetron,” out of Spike DDB, New York. also scanned cars in commercials which can be at our location or close to our And Venice-based 2D/3D animation Motion Theory tapped Eyetron- studio location. ics to produce visual effects for Electronic Arts’ “Mechanical Warriors” for “Our scan takes a half-hour or less,” he continues. “So for commercials we Wieden+Kennedy. go on set and scan at the availability of the director. The key for us working on commercials is also flexibility and the ability to turn models over quickly.” LIDAR A recent example is the use of Eyetronics’ portable scanning system by West R&D is also forwarding the use of scanning. An example involves a new pro- Hollywood-based visual effects house Ring of Fire for “Basketball,” a commer- cess that starts with traditional LIDAR (Light Detection and Ranging) scanning, cial in the Nike Lebron campaign out of Wieden + Kennedy, Portland, Ore. or the process of collecting potentially millions of points from a location that These spots feature basketball star Lebron James playing various roles. “Bas- Continued on page 20 January 26, 2007 SHOOT 19 VISUAL EFFECTS & ANIMATION

Scanning Gains Momentum, Versatility In Visual Eff ects Arena

Continued from page 19 LIDAR scanning is predominantly ing highly detailed 3D scenes from a les’ Dreamworks Animation.) lize the data right after the scanning are measured by distance and then used for engineering. Venice-based set or location. (Gradient was founded “[With Gradient’s technique] it is process in our favorite 3D applica- connected to a polymesh, which is an Gradient Effects has developed a LI- last May by Thomas Tannenberger, possible to scan and immediately uti- tions [such as Maya]. This reduces the early stage of a 3D model. Tradition- DAR-based technique designed from co-founder of Germany’s Das Werk, lize the data on location, where tradi- cost for utilizing a scanner on location ally the mesh needs to be cleaned or a filmmaker’s point of view to stream- and Olcun Tan, who previously held tionally the data had to be processed dramatically. Since Gradient Effects remodeled before it is useable, which line, simplify and reduce the process- R&D positions at companies includ- before it could be used at all,” ex- is foremost a visual effects house, we is a time consuming process. ing times of sampled data while creat- ing London’s Mill Film and Los Ange- plaind Tan. “Our tools allow us to uti- stripped everything away in the pro- cess, which we feel is not necessary.” Tan emphasizes that the system was not developed with the idea to sell it as a service; rather, it was con- ceived to streamline Gradient’s own visual effects pipeline and to enhance the quality of the work. “The whole thing started out of necessity,” Tan says. “Gradient Effects works very closely with directors and producers and to be able to meet the creative and budgetary requirements, we had to streamline the process of visual ef- fects both on location and back in the visual effects facility.” The process involves the use of LIDAR scanning coupled with pro- prietary software written at Gradient. “In-house we use it for previz, model- ing, animation, simulations and light- ing,” Tan explains. “Our tools can inversely reconstruct camera infor- mation [metadata]; this means that we really don’t need any camera notes. Another benefit is that we don’t need to have as many tracking markers on set as usual, which results in less inter- ference with the filming process.” The Gradient system is still rela- tively new and is available for com- mercial and feature productions; it has already been used on several films including the soon to be re- leased Richard Kelly-directed South- land Tales and the Mennan Yapo-di- rected Premonition. (Tannenberger was visual effects supervisor on both

films). “On Premonition and Southland Tales, we pushed our scanning pro- cess further into production,” Tan relates, explaining that it was tapped for previz by using the actual location data. “Since we have a digital finger- print of the location we can easily determine how many cameras will be required and where to place them. We worked with all departments to- gether to help them communicate better and to save resources and [pre- vent] surprises.” Gradient’s scanning techniques were also used as part of the special ef- fects process. “We were able to deter- mine all safety distances from the ex- plosives and we could still make sure that the director was able to achieve his artistic goals,” Tan says. “And the best was, we were able to brief the whole team without moving out of the production offices. That saves a lot of money for the production and the visual effects. You can ramp your resources as you really need them.” 20 SHOOT January 26, 2007 MIDWEST

Taking Flight

“Flying by the seat of our pants.” “Coping with learning curves.” Those are the types of phrases production and post companies in the Midwest are using to describe how they are dealing with the challenges and opportunities brought on by new technologies and alternative advertising mediums. But despite the Shops Transition uncertainty of it all, the excitement in their voices is palpable. “To me what’s exciting about getting up and going to work everyday is every single day some new development in digital media happens. And it’s not very often in history that you get to be a part of something—an emerging form of communication,” says Mitch Apley, executive producer To Digital Media, of Resolution Digital Studios (RDS) in Chicago. “When I was born, everyone had already figured out how to make movies and television, but right now we are still in the process. We are still trying to figure out how to make this Internet video work and it’s just cool to be a part of it.” Soar With New Not only is it cool to be part of forging a new world, it’s good for business. “Post is doing very, very well. The variety of new outlets for produced material is helping post. It seems like it is very viable even though Detroit has lost some auto- Opportunities motive accounts,” comments Sheldon Cohn, executive VP, director of broadcast at Doner Advertising in Southfield, Mich. FBut with the trend towards digital acquisition and digital finishing becom- By Nicole Rivard ing more and more the rule and not the exception, not all companies have stayed viable and some have had to close up shop. “Part of it is that transitioning from an old analog system to an HD sys- tem is expensive. It’s not because the HD technology is particularly pricey, because it’s all computers and pricing is going down, but pay- ing off your legacy analog gear is expensive,” explains Apley. RDS has been around for a little over a year now. “We were fortunate to come into existence without the baggage of two-inch decks and one-inch decks. And we were able to create an HD workflow that is cost efficient and effective.” In the past year, Steven Wild, president of Grace & Wild in Farmington, Mich., has experienced growing interest in finishing work in HD, and not just from commercial producers. “Many cus- tomers producing digital signage, independent theatrical content, long-form broadcast and business television are now either creating or budgeting HD projects. At the same time, they are very tuned into the concept of re-purposing their program material for alternative media distribution, such as Internet video, podcasts, cell phone messaging, etc.,” he says. Grace & Wild’s production and post division hdstudios was recently called on by Pass Left Productions of Hillsbor- ough, North Carolina, to shoot half-hour broadband programs in HD and edit and format the programs for Internet delivery for the Borders Group. The Borders’ Book Club programs can be viewed as webcasts on the Bordersmedia.com Web site. “The HD multi-cam shoot took place on location at a home in Border’s home Continued on page 22 Getty Images GBU_030(RF) January 26, 2007 SHOOT 21 MIDWEST

Midwest Shops Diversify Into Digital Content Space

Continued from page 21 created for Borders, and they have attracted the attention of TV produc- do something for Sprint’s Power something up on the phones,” Apley town Ann Arbor, Michigan. Flash several more projects planned.” tion company Intersport to RDS. In- Vision Network. We did news and recalls. “So we were rolling a live cut programming and DVD authoring tersport tapped RDS last year during coverage and updates of the NCAA directly into an edit system, generat- and various format conversions were The complete package college basketball’s March Madness men’s basketball tournaments. We ing the graphics on the fly, slapping also provided for the website,” ex- Apley notes that a lot of the work to create some of the first straight to did hundreds of two- to three-minute them together, putting on the music, plains Wild. RDS does encompasses an entire proj- mobile phone content. hits. Ten minutes after the announcer compressing the file, and boom. It was “This was the second webcast we ect from start to finish, which is what “They chose us to help them to was done talking, we would have basically like a news broadcast but in- stead of a tower we were uploading the files to an FTP site.” He adds that they created the metadata and the file structure for all of the files so they showed up in the right order on the phone. “We were handling all of the stuff and it was a huge learning curve, because no one’s ever done it before.” It’s looking like the RDS team will be doing it again this year because it was a big hit for Sprint. Although the client did not release any official num- Al Collins, Optical Technician bers, Apley says it had a huge upswell in its web traffic and the numbers of subscribers. Apley says RDS is also actively pursuing other original digital media creation. The company just produced an original short-form comedy pilot Stan Glapa, Rental Manager for NBC Universal’s dotcomedy.com. The web network features stand-up, highlights from television comedies, entire episodes from old-school sit- coms and original shorts and digital series like RDS’ Kyle’s in a Coma. Show me the money The thing about digital media that Dependable, reliable and always available when everything changes. Apley and others find a little bizarre – Dion Beebe, ASC, ACS is the lower price points. He says that compared to normal broadcasts where price points are $30,000 to $50,000 for Fletcher has helped us out on numerous shoots in the Midwest a half-hour pilot, digital media is a fifth with great equipment and service. We loved working with the new ARRI equipment. of that. No one has really figured out the structure of digital entertainment – Mark Androw, Executive Producer Story and how to monetize yet. But now that the big guys like Google and MySpace are getting involved, he believes an in- It’s great to see Stan Glapa and Al Collins operating the fi lm rental frastructure will be put into place. department at Fletcher. Their experience is the perfect complement to Fletcher’s state of the art motion picture camera equipment. “This year because of Goo-Tube and Newscorp pushing the MySpace – Michael Kohnhorst, DP video site pretty hard, I think people are finally going to start making money on this in a pretty major way. Maybe not on cell phones just yet but definitely on the Internet,” says MIDWEST’S BEST 16* 35* 24p Apley. “And as the models come to Large inventory, 20 years experience and a team of experts led by Stan Glapa and Al Collins light that are profitable, then I think we are headed for a time of pretty se- Fletcher Chicago rious prosperity. All the white papers Your Film & Digital Production Partner I’m reading would suggest that in the ARRI • Sony • Panasonic next three years, we’re looking at bil- Sales & Rental • 800.635.3824 www.fl etch.com lions of dollars.” Until then, digital media creation is at least opening up the doors for more ideas to be brought to light because lower cost production means net- works are willing to risk more. “The fact that Budweiser has dedicated so many millions of dollars to their own web-based video network, Bud.TV, production companies like us salivate over stuff like that because we’ve got 22 SHOOT January 26, 2007 meticulously maintained custom camera packages Arriflex/Aaton/Panasonic Photo-Sonics 4ER+ a million ideas. This new emphasis on digital media over the Internet is open- 35mm/16mm/DV/HD ing up a lot of opportunities for people accessories/support with ideas more than the transition lenses/speciality items from analog to digital television.” One company bringing ideas to the filters/expendables. table for Bud.TV is SEED, a branded call for details. entertainment company affiliated with Venice, Calif-based Backyard Productions. Company partner Roy 16 years Skillicorn still calls Chicago home. experience. The Backyard family also consists of Roy Skillicorn Transistor Studios, a company spe- Serving the cializing in motion graphics, web, “There is a big learning curve midwest. print and DVD design. there. You have lots of cameras and “We have three entities and the unscripted lines and it’s a very new Film and beauty of that is we have the opportu- world for us. Basically we are kind of now digital. nity to create content and produce it in flying by the seat of our pants in some one family,” Skillicorn says, reiterating cases,” he says with a laugh. He added the importance these days of having a that Backyard and its affiliates are not one-stop shop, which Apley alluded to alone. “Other companies are on the earlier. Skillicorn is proud of the work forefront of this—we are all kind of set- they completed for Bud.TV, adding ting our own rules and trying to get the that he was not at liberty to discuss the client to understand our interests and details of the three projects but says making sure it’s a smooth process.” that two of them are reality shows. Continued on page 24 Michigan Is ‘Open For Business’ Filming Incentive Program Becomes Reality

To say Janet Lockwood, director of the Michigan Film Office, is thrilled is an understatement. Earlier this month, the Michigan film production incentive pack- age was signed into law by Gov. Jennifer Granholm (D-Mich.). The bill, sponsored by Rep. Bill Huizenga (R-Zeeland), chair of the state’s House Commerce Com- mittee, passed in the Senate and in the Janet Lockwood House in December. “After having worked toward this end for nearly four years, I am somewhat over the moon. I have Rep. Bill Huizenga, the governor and several other key legislators to thank for the final push, along with great support from Michigan crew people. It’s very cool,” says Lockwood. In a nutshell, commercials, TV series and films are eligible if they spend at least $200,000 in Michigan. (It can be cumulative over the course of a year.) Companies must submit applications to the film office and treasury and be pre-approved before becoming eligible. The bill includes a graduated scale depending on how much a com- pany spends in Michigan. Between $200,000 and $1 million, a com- pany receives up to a 12 percent refund; between $1 million and $5 million, a company receives up to a 16 percent refund; between $5 million to $10 million, a company receives up to a 20 percent re- fund; and anything more than $10 million only receives 20 percent on the first $10 million. There is a total of $7 million available per year for four years. Lockwood hopes to have the measure up and running by Feb. 1. and says she is already getting calls on it even though it has yet to be widely publicized. schumacher Huizenga is confident this bill will help bring Michigan to the forefront within the film industry. ”By offering these incentives, filmmakers will be more likely to shoot commercials, TV series or full feature films in Michigan and in turn contribute greatly to our CAMERA economy,” he said when the bill was passed. “This action says to the industry, Michigan is open for business.” —Nicole Rivard 312.243.3400 Chicago www.schumachercamera.com

January 26, 2007 SHOOT 23 MIDWEST

Opportunity Knocks For Several Shops In The Midwest

Tom Duff Bob Ebel Steven Wild Sheldon Cohn Mitch Apley

Continued from page 23 “Where we used to define a pack- “Why? Branding itself is becoming the people to be themselves in front The agency recently tapped Pi- Spots alive and well age as a number of :15s, :30s and :60s, more complex because of competi- of the camera.” casso Pictures in London to get the All of these new advertising vehicles now we see a couple of spots, a webi- tion, there are a million various medi- When asked if the growth in pop- selling message across in a lively way are not a death knell for traditional sode, a cinema piece, a print piece or ums available for getting the message ularity of this candid, non-scripted for Blockbuster’s Total Access pro- spots either. Instead Skillicorn believes even a longer format branded con- out there, and the world is getting unrehearsed work has anything to gram. “This was always a project with the industry is going to see a resurgence tent piece to be integrated for image smaller by the day.” do with the user-generated content animation because there were a lot of of creative in commercials because they purposes as opposed to a specific one trend, he said, “I think people can tell facts that had to be conveyed seam- will have to compete. Tom Duff, presi- time, one message application type It’s a small world today when there is an actor acting. lessly, and a lighthearted animation dent/partner of Optimus in Chicago, thing,” Duff explains. “Not to men- Bob Ebel, president of Ebel Produc- And when you create a commercial style seemed to be the best option of a agrees that commercials are still very tion finish it in HD, then they need it tions in Chicago, is being affected by that doesn’t look like a commercial, I way to communicate what Blockbust- much alive. But he is seeing augments in three different formats and seven how the Internet has made the world a think it’s refreshing.” er Total Access was about and how it to them as “packages.” different standards for global use. smaller place. He is receiving a lot of in- Cohn personally wonders if the compared to Netflix.” terest from clients in Europe and from trend of pure awareness—an outra- No matter what the medium, Ebel cities like London, Milan and Moscow. geous spot that is strictly for aware- said he is disappointed when he sees “I think the Internet has been the tool ness and entertainment sake and work and there is no concept of what for that,” says Ebel. He recently met doesn’t really have a strong selling the product really is. “There are with a production company that is in- message—has peaked. “Spots still need too many artists and poets and not terested in repping him in Europe. to be entertaining and get awareness enough people who understand that “It’s interesting. What they’ve done but combined with a selling message. I we are marketing products, and you is taken my work around to some of think people are going to start to real- can do both. the agencies in London. They have ize, all the awareness in the world, so “I have a wish that there is more never seen that type of work in Lon- what? It remains to be seen,” he said. content and less technique in 2007.” don. They were very excited about it because they are looking for some- thing different. A lot of the kids’ work we do is unscripted.” And because of the way he works with kids, he is getting more interest from agencies who want him to work his magic with adults. He garnered at- tention with the Hallmark campaign for DDB Chicago featuring adults that he did a little over a year ago. He is currently bidding on a project out of California that would also fea- ture adults. “We’re doing a lot where we use non-actors and it’s really fun. What’s critical is the casting, finding the great people and then allowing hdstudios’ work for Borders’ Book Club

RDS’ mobile phone content for March Madness 24 SHOOT January 26, 2007 Ordeal Ends, Creative Dir. Ahmet Returns To Imaginary Forces

Continued from page 1 ing period since he had a record of a ordeal, paying his salary as well as his you don’t even know what you’re be- and professionally. I’m thankful for that included recognition of his art- past security clearance. Instead it took family’s housing costs in London dur- ing investigated for?” Imaginary Forces’ support but this has istry from the Royal Television Soci- even longer the second time to gain ing this time. SHOOT talked to Ahmet before he to be resolved soon. It’s been a surreal ety and the British Academy of Film authorization to return to the country. “Ahmet is a major player at our obtained the clearance for a stateside experience in which you pretty much and Television Arts. His special O1 Living out of suitcases in a London company,” said Peter Frankfurt, cre- return. At that point, he had begun feel powerless.” visa to work in the United States has apartment, Ahmet and his family ative director/cofounder/executive to consider resuming his career in the At that time, Frankfurt expressed since been renewed multiple times, could do little more than wait since producer of Imaginary Forces. U.K. “We have to move on with our anger and frustration over Ahmet’s the latest covering calendar year they were not informed about what “Before he left for London, he had lives,” he said. “We cannot go through plight, wondering if—or how many— 2007. At Imaginary Forces he has was causing the delay. The best that mapped out an ambitious global film much more of a protracted process. other law-abiding professionals are distinguished himself in theatrical can be ascertained is that his surname, for Mercedes-Benz in Germany. He The uncertainty has been draining facing the same situation and being features (designing the movie trailer Ahmet, matches those of individuals made the presentation that got us the emotionally, financially, personally treated unfairly. for Harry Potter and the Sorcerer’s who are ineligible to enter the United job. But he was never able to return Stone, the titles for Spider-Man, as States. However the name Ahmet is as from London in time to produce it as well as work on Dreamcatcher) and common internationally as monikers had been planned. He did what he advertising (including spots for Ford, like Smith or Jones are stateside. could over the phone and via com- CLASSIFIEDS Honda and Budweiser, as well as a Given his track record, it would puter but that is no substitute for what Advertising Information: Kelly Boyle (203) 227-1699 ext 14 or email: [email protected] Nike web/point-of-purchase film fea- have been logical to assume that his his hands-on, in-person involvement turing Tiger Woods). identity could have been established would have meant. Thankfully, the EMPLOYMENT Additionally Ahmet thought he and that he could be differentiated client hung in with us and allowed us would be able to return stateside in in a timely fashion from any other to do the job without Ahmet.” EDITOR’S ASSISTANT a timely manner based on his experi- red-flagged person with the name Imaginary Forces’ CEO/cofounder/ Top NYC Editorial House seeks Editor’s assistant with no less ence visiting London in 2004; at that Ahmet. But instead he and his family managing partner Chip Houghton than 2 years and no more than 5 years experience in commercial time he was subject to a security clear- were detained for an extended period, noted that the company had to turn editing. Avid Media Composer, Final Cut, Photoshop, After- ance, which took four months to get. making it difficult for Ahmet to take away a considerable amount of busi- effects and team player a must. Compensation based upon He had reasoned that this time around on his workload at Imaginary Forces, ness “because with Ahmet not physi- experience. Email resume to: there would not be an inordinate wait- which supported him throughout this cally here, we didn’t have the band- width to take those jobs on.” [email protected] For the Record Frankfurt said of Ahmet, “He’s a In “Spotmakers Poised for Sundance” (1/12), it was incorrectly reported creative person, extremely profession- Experienced Post Producer Busy NY based full service post facility seeks experienced Post Producer. Looking that the late Adrienne Shelly, who directed Waitress, was affiliated with al but how can anyone settle down and for someone with at least 3-5 years commercial/broadcast experience, knowledge Sugarbox Studios, New York. The Sugarbox talent attached to that film was do real work [via laptop computer and of bidding software & AICE practices/guidelines, managing budgets & schedules, Andrew Hollander who composed the music. Snow Angels was produced phone] when you’re not only in limbo working closely with clients and editors. Require someone well-organized and by Crossroads Films Productions with Cami Taylor, Dan Lindau and Paul but dealing with a dying mother, hav- effi cient with strong communication and computer skills. Competitive salary Miller serving as producers. That film’s director was David Gordon Green. ing to home school a daughter because (commensurate with experience) and benefi ts package. she cannot return to her middle school Please e-mail cover letter and resume to [email protected] or fax 212.966.3553 In “Jayson Moyer Reaches Crossroads” (1/12) the McDonald’s spot directed in Los Angeles and your reputation is Vault Manager Wanted REAL ESTATE by Moyer was reported as coming out of the San Francisco office of being compromised by some sort of Busy Post Production House seeks agency Hoffman/Lewis. The job was done for Hoffman/Lewis, St. Louis. security clearance process in which vault manager. Must have at least 3 107 Grand Street, NYC (at Mercer) years of shipping experience, must be Premier Soho loft building has computer friendly and detail oriented. 8,600-25,800 sf for lease. Each full [email protected] fl oor offers 30 windows, high ceil- GS & P Shows Beauty Of Volunteering ings hardwood fl oors, new bath- rooms, kitchen and central HVAC. Cuppa Coffee Studios is seeking Continued from Page 4 The 2nd fl oor offers 14’ ceilings little wink there so that the fi- Kevin said they would do the an East Coast Rep. and an industrial capacity server put down ‘volunteering is sexy’ nal message doesn’t take itself job, we knew we had lucked Please reply to Adam Shaheen room. The building is well designed and we knew right away that we too seriously. out,” said King. via e-mail: and is serviced by redundant T-1’s. had something iconic and true.” “We all agreed that if we could But what they didn’t know Area neighbors include many pres- [email protected] tigious post-production companies Each spot captures people somehow get the rights to Nina’s was how much experimentation and advertising agencies. volunteering—cooking for the great song, the spots would be and collaboration it would take SMOKE ASSISTANT homeless, planting trees and as good as they could be. It was to get to a place where they all Chris Owles Very busy NYC editorial company painting a mural to beautify the a long shot, but our producer liked the work. 212 604 9000 x 29 seeks smoke assistant. Send in- [email protected] city. And since the emphasis is Brian Coate worked some magic “We had already shot the quiries to: not on how they look but on and Nina’s song was donated. print and loved the way it felt. Bruce Sinder [email protected] what they are doing and how it Even her lyrics are perfect.” So, it was an incredibly hard 212 604-9000 x 24 [email protected] makes them feel good and “sexy,” In addition to the music, the task, translating those real print LOCATIONS the music was key in creating the spots could not have resonated moments into a TV spot. Thank- right vibe. The spots unfold, to with viewers without what direc- fully, Steph and Kevin believe in Expanding audio post facility is Shoot Yosemite moving to new bigger location in the tune of a licensed track from tor Stephanie Green and DP Kev- experimentation and tried a ton and Madera County midtown NYC. Audio, graphics, or Nina Simone called “Do I Move in Richey brought to the table. of different directions until we production pros who have established You?” featuring the lyrics, “Do I (Green directed the job via the all felt like we landed in the right From The High Sierra clientele and an interest in a share of move you, are you willing? Do agency’s GSP Post arm; she has place,” King said. To The San Joaquin Valley space contact us in confi dence. I groove you, is it thrilling? Do I since joined Little Minx, a shop Everyone who contributed to www.yosemitefi lm.com [email protected] soothe you, tell the truth now?” in the family of bicoastal/inter- the making of the work donated POSTPRODUCTION SERVICES Northrop said that they tried national RSA companies.) their time, talents and passion, literally hundreds of songs. “We “Stephanie has an incredible which is a testament to the es- finally boiled it down to two or sensibility; it’s hard not to love sence of SF Connect. three, and the Nina Simone what she creates. And Kevin is “A group of volunteers creat- tune ,’Do I Move You?’ was the tough in all the right ways, he ed an ad campaign about volun- only one that felt perfect. The knows what he wants and makes teerism. That’s something I can song is sexy, but there’s still a sure he gets it. When Steph and believe in,” King said.

January 26, 2007 SHOOT 25 News

Santa Monica-headquartered Ascent Media Group has named Richard Andrews as senior VP/COO for media services. In his new capacity, Andrews, formerly president of Technicolor Creative Services, will oversee day-to-day operations at AMG facilities that provide digital media services, including: Digital Media Data Center, Burbank and Northvale, NJ; Blink Digital, New York and L.A.; Cinetech in Valencia, Calif.; Ascent Media Wardour Street, London; Stream, London; and Visiontext, London and L.A.....Bicoastal Hornet has added director Lorenzo Fonda to its roster...... Toy NY has added the team of copywriter Jake Benjamin and art director Mark Voehringer, formerly of Saatchi & Saatchi, New York. Tiff any McKee, who had been freelancing at Toy as a creative, has also joined the shop....Tony Granger, chief creative offi cer of Saatchi & Saatchi, New York, will chair the advertising jury for The Art Directors Club’s 86th annual Awards competition. Chair- ing interactive will be Rei Inamoto, global creative director of AKQA. Winners will be announced in the spring with a gala ceremony slated for late May at the ADC Gallery in New York.....Tom McGowan has returned to Quantel to serve as its CEO for North America. He will divide his time between the hardware/software maker’s California offi ce and its North American headquarters in Vienna, Va. Earlier in his career, McGowan was VP of broadcast sales at Quantel. He more recently served as director of broadcast sales operations, Midwest and Western States and national sales for Avid Technologies......

Hollywood-based production house Zoo, headed by executive producers Gower Frost and Jan Wieringa, has signed Regina O’Neill for representation on the West Coast, in Texas and Florida. Zoo’s directorial roster includes Simon West, Luca Maroni, Jeff Gordon, Michal Utterback, Hank Benson, James Frost and Diane Van Us- sel....Reps Sasha Stern and Jamie Scalera have formed Miss Smith, a New York fi rm handling the East Coast for a roster including Epoch Films, Sticks+Stones Studios, Cosmo Street Editorial, EyeballNYC, and Crispin Porter+Bogusky, Boulder, Colo.....DP Ketil Dietrichson has signed with the Sheldon Prosnit Agency, Los Angeles....DP Barry Ackroyd (United 93) has joined Endeavor, Beverly Hills, for spot and feature representation....Production designer Chris Gorak, who’s worked often with director David Fincher of bicoastal Anonymous Content, is again being repped by The Montana Artists Agency, LA.

>January 31-Feb. 2/Palm Springs, CA: HPA Technology Retreat. www.hpaonline.com >February 3/Los Angeles, CA: 59th Annual DGA Awards Dinner. www.dga.org >February 11/Los Angeles, CA: VES (Visual Eff ects Society) Awards. www.vesawards.com >February 22-24/San Diego, CA: Online Marketing Summit. www.onlinemarketingsummit.com >February 27/Las Vegas, NV: Building a Successful Interactive Advertising Business (for agency execs/mgrs). www.laredogroup.com >March 5-9/San Jose, CA: Game Developers Conference. www.gdconf.com

26 SHOOT January 26, 2007 Super Bowl spot, anyone?

Create your next film project with us, and you could win FREE production of your 2008 Super Bowl spot. Book your job with us by September 1, 2007, and you’ll automatically be entered to win your next production for free, just in time for Super Bowl placement. Many will enter, only one will win. Time is wasting, so let’s go. Full details at fallingolive.com

© 2007 Falling Olive Productions. Photo and retouching by Tom Cwenar Photography. This is a TattooProjects.com.