www.shootonline.com

Paul Hunter Does MacLaren McCann Some Heavy Puts Wife In Breathing For Perennial Denial Nike, W+K For Caramilk page 12 page 13

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION March 9, 2007 $5.00

Steve Caplan Refl ects On His Eventful AICP Tenure Setting Up Having joined AICP in 1998 and helping it to attain numerous goals, Camp At including breakthrough spot filming DDeterminingetermining incentive programs in New York and Riney, S.F. Los Angeles, executive VP Caplan By Robert Goldrich is moving on to become a partner in SAN FRANCISCO—With about a GMMB, an ad agency and media firm month-plus under his belt in the newly that focuses on major social issues as WWhat’shat’s created position of chief creative officer well as political campaigns. at Publicis & Hal Riney, San Francisco See page 4 (SHOOT, 1/29), Roger Camp—whose creative pedigree includes the lauded Beast In The East, West & Brawny Academy online reality series Now The Lone Star State during his tenure at Fallon, Minneapo- Managing partner/executive produc- NNextext lis—reflected on the opportunities and er Valerie Petrusson’s shop signs not- challenges at his new roost and in the ed editor Rob Watzke, grows its New New Compensation Models For industry in general. York office with the addition of vet- A simultaneous challenge and op- eran cutter Jim Ulbrich, and opens a Content Creation and Development portunity is attaining the right “hy- full-service operation in Texas where brid mix,” he observed, noting that it lands editor Sam Selis, who comes Discussed At AICP Session the proper balance of agency in-house over from charlieuniformtango in resources and external talents is criti- Dallas and Austin. By Robert Goldrich cal to success in today’s marketplace. See page 4 “For years we would reach out to very LOS ANGELES—”This is one of the AICP’s most important traditional production companies—di- Jerry Pierce Checks Into undertakings,” said Blair Stribley after attending a meeting rectors in particular—to work as an ex- in Los Angeles updating Association of Independent Com- SHOOT’s Chat Room tension of us and to execute an idea. mercial Producers’ members on the work of the AICP.next The former senior VP of technol- That’s still happening but it’s taken committee formed last year to provide insights, context and ogy at Universal Pictures—where on another dimension as we reach out hopefully some answers as to how the production commu- his projects included digital cinema, to others at the same time to fully de- nity can capitalize on emerging content opportunities and next generation DVD, electronic sell velop and realize big ideas.” formulate new ways of doing business. through, home servers/networks For example, he noted that Pub- Stribley, who is partner/executive producer at Venice, Ca- and copy control technologies—looks licis & Riney is currently exploring lif.-based Backyard Productions and its sister content cre- ahead to the future of entertainment collaborative opportunities not only ation and development shop Seed, explained, “The reason and its implications for advertising, with conventional production houses it’s so important is that we’re entering an era where a very which tries to stay relevant in an in- but also with digital creative shops. He new business model or models are developing for our in- creasingly fragmented marketplace. cited exploratory conversations with dustry. Producing commercials is a mature business. The See page 10 such Swedish firms as North Kingdom practices and standards are well established. But now we’re and Farfar. “We’re becoming facilita- involved in content creation Editors Series: The AICE’s Continued on page 9 tors bringing all these different dispa- Continued on page 24 Ambitious Agenda HD Initiative, industry dialogue and mentoring. The Road To NAB: Extreme Measures For Apple See page 17 By Carolyn Giardina about the impact of Autodesk’s transi- additional halls in the North Building tion, Management & Systems, Display LAS VEGAS—There are a few com- tion to Linux. All of this adds up to an and spanning nearly 900,000 net Systems, Pro Audio and Content Vil- mon themes in the editing and com- important NAB where customers will square feet—yet it also appears to be lage (where owners, aggregators and positing space in the lead up to the be taking a serious look at the sector. more focused. producers would showcase their digi- 2007 National Association of Broad- When planning the journey, attend- The new layout will incorporate a tal content). casters (NAB) Convention, which is ees may also want to be aware that the categorization system that the NAB Also of note, the NAB Production/ scheduled to take place April 14–19 in NAB has unveiled an expanded and believes would more evenly distrib- Post World Conference will feature Las Vegas. For starters, “integration” reorganized exhibit floor plan for this ute traffic and make navigation of the speakers, panels, and training on tools is likely to be a key buzzword of the year’s event. It is still overwhelming— show floor easier for attendees. The from companies that include Avid, show. Next, everyone is curious about encompassing all halls of the Las Ve- floor product categories include: Ac- Apple, Adobe, Autodesk and Sony. Apple’s plans. And, people are curious gas Convention Center including two quisition & Production, Postproduc- Continued on page 20 big fish are overrated.

foundationpost.com image • copywrite • composite • design • produce • finish • direct • edit Perspectives

spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Wally March 9, 2007 Volume 48 • Number 5 As a follow-up on the set....Walter and I realized that me out of this scene.’” friendships. It may not be rocket sci- www.SHOOTonline.com to last month’s a period piece parlor car should have However, cutting remarks that ence, but the ingenuity, creativity EDITORIAL Publisher & Editorial Director (SHOOT, 2/23) smoke,” shared Gage. “But neither of were at the same time good natured and perfectionism it takes to make Roberta Griefer 203.227.1699 ext 13 [email protected] remembrance of the late Walter us had budgeted a smoke machine. and said in good humor were also great ads takes a certain chromo- (“Wally”) Tannenbaum—penned by Simultaneously we hit on an idea. We part of the Tannenbaum repertoire. some, or maybe just a certain strain Editor Robert Goldrich Matt Miller, president/CEO of the As- had the assistant director John Zane “I always loved to take the agency of passion. I’m sure we each have 323.960.8035 [email protected] sociation of Independent Commercial light up a huge stogie and in between out for great lunches,” shared Gage. our own ‘Walter’—someone who Sr. Editor/Technology & Postproduction Carolyn Giardina Producers (AICP)—some fond recol- takes walk up and down the train puff- “Walter wasn’t impressed. He’d al- didn’t just mentor us, but inspired 323.960.8035 [email protected] lections from director George Gage ing and exhaling as much smoke as ways say, ‘You can’t put a steak on us. Someone whose keen eye could Associate Editor were relayed to us. In that Nicole Rivard 203.227.1699 ext. 16 [email protected] Tannenbaum loved to “Walter wasn’t impressed [with swank lunches bought by production share his stories about the Associate Editor houses]...He’d always say, ‘You can’t put a steak on a sample reel.’” Ken Liebeskind business, it’s apropos that 203.227.1699 ext. 17 [email protected] Gage get the chance to relate his tales humanly possible. We got our effect. a sample reel.’ He always had a way spot those who weren’t cut out for Contributor about Tannenbaum, the colorful head John got green.” with words,” continued Gage. “I’ll al- this business versus those who were Christine Champagne of production at Ted Bates “back in The kinship between the director ways remember his apt description of intrigued enough to pursue it. These ADVERTISING East/Midwest/Canada the day.” and Tannenbaum extended to long- me: ‘More luck than brains.’” people make for a great story. Robert Alvarado “During my commercial direct- form fare as well. “When I shot my Gage’s observations dovetail well Part of the collective lore of our 203.227.1699 ext. 15 [email protected] ing career, Walter quickly became first feature film, Skateboard, Walter with those of Miller, which appeared industry comes from the stories that International Roberta Griefer my favorite client,” wrote Gage in a was there,” noted Gage. “During the in SHOOT in February. Miller wrote are handed down and shared. Re- 203.227.1699 ext. 13 [email protected] faxed memoir. “But more than that, climactic scene, I looked down from that “this is an industry of great member to share yours and stop a West Coast he quickly became one of my favor- the crane and right in the middle of people. The people we meet every moment in your busy day to listen Carl Gilliard 818.763.2678 [email protected] ite friends.” the action I saw Walter with my then day in this industry set apart those to others’. Gage recalled an Orient Express- three-year-old son on his shoulders. who simply have ‘colleagues,’ from You’ll see that you’re part of a Advertising Production Gerald Giannone takeoff commercial for Panasonic that After I yelled ‘cut,’ I heard Walter tell those who work together to achieve unique tribe, a ‘Band of Brothers,’ if 203.227.1699 ext. 12 [email protected] he directed for Tannenbaum. “Once the producer, ‘I know he’ll never cut miraculous feats that spawn real you will.” Classified 203.227.1699 ext. 12 [email protected] OFFICES Main Offi ce Produce Stand 21 Charles Street #203 Westport, CT 06880 USA By Robert Goldrich 203.227.1699 Fax: 203.227.2787 West 650 N. Bronson Avenue, Suite B253 Los Angeles, CA 90004 USA DDB Chicago’s David Rolfe 323.960.8035 Fax: 323.960.8036 Circulation “This Bud’s For ment and sports cache the brand has mont, who came aboard DDB Chi- Chicago managing director/creative 203.227.1699 ext 12 [email protected] If your mailing label says RENEW, then go to www. You.” That classic built over the years.” cago as bud.TV executive producer. Paul Tilley have been invaluable. SHOOTonline.com/go/renew and complete form today. slogan is all the The block of “Happy Hour” Piedmont was a writer turned pro- “It’s been an interesting ride thus Editorial Production Manager/Reprints/Article Rights more apropos today on the heels of programming from DDB Chicago ducer on Saturday Night Live from far,” continued Rolfe, who hopes Michael Morgera 203.227.1699 ext. 11 [email protected] Time magazine naming “You”—with includes: The Arrogant Fake British ‘96 to ‘02. the sojourn leads to a longer-form

© 2007 DCA Business Media LLC. All rights reserved. control over your programming and Rich Guy, Guided Meditation With “This has been a really unique road. “That’s definitely part of the No part of this publication may be reproduced, stored in any media choices—the person of the The Billy Lama, Donnie Briggs: Life experience. In some respects you client’s and our thinking, that any retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, year in 2006. Coach, Future Man, Channel 5-4-6 have to be more brave—and more one of these programs could build without the prior written permission of the publisher. Indeed the recently launched on- Puppet News Team and Ice Vision & patient in order to allow an audience audience and momentum and take For Subscription Service Inquires and line entertainment network bud.TV Chef. The quirky, tongue-in-cheek to find and like a show,” observed on a life of its own, leading to a [half- Subscription Orders, Please call: 1.847.763.9620 is for “You.” There are no overt ad humor of these series is true to the Rolfe, noting that the contributions hour or hour] series on television or SHOOT (ISSN# 1055-9825) printed edition is published bi- pitches—just entertainment content spirit of the client brand, a Bud per- of A-B’s Jim Schumacher and DDB another outlet outside of bud.TV.” weekly except in January, July, August, and December when published monthly) for $125.00 per year by DCA Business that’s true to the Anheuser-Busch sonality that’s been honed over the Media LLC, at 21 Charles Street, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional (A-B) voice established over the years in its advertising. mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. years in its Super Bowl commercials The Arrogant Fake British Rich Flash Back USPS (06-234) and in such fare as the “Leon” com- Guy and Guided Meditation With March 1, 2002 Feature filmmakers the Huges Brothers—Albert and For SHOOT custom reprints please contact Michael Allen—who have directed such films as From Hell, Dead Presidents Morgera 203.227.1699 ext. 11 or email to: mmorgera@ mercials (featuring an egocentric The Billy Lama were directed by the shootonline.com athlete) and the “Real Men of Ge- team of Don & John—Don Shelford and Menace II Society, have signed with Hollywood-headquartered Oil SHOOT >e.dition published weekly except in January, nius” campaign. and John Knecht—of bicoastal HSI Factory Films for exclusive commercial and music video representa- July, August, and December when twice monthly. “The goal is to create content of en- Productions. “I know them [Don tion....Little Minx, the Los Angeles-headquartered hybrid commercial/ iSPOT, the digital newspaper for broadband video advertising, is published weekly on Wednesdays. For tertainment value that’s in sync with & John] from their agency creative music video production house headed by executive producer Rhea further information go online to www.shootonline. Rupert, has entered into an association with bicoastal RSA USA and com/go/ispot what the brand is about. We are pro- backgrounds,” related Rolfe. Shelford SHOOT is produced in the U.S.A. gramming for a network so the idea is and Knecht were creatives at Goodby London-based RSA Films....Sydney headquartered visual effects com- SHOOT is a member of to have a program that some people Silverstein & Partners, San Francisco, pany Animal Logics has opened a satellite office in Venice, Calif. will relate to—while others might en- and later went to Amsterdam where joy another program or programs,” Knecht served as a copywriter at 180 March 7, 1997 Crew Cuts, a fi xture in New York’s spot editorial said David Rolfe, production direc- and Shelford as a group creative di- community for 10 years, will launch a Santa Monica facility April 1. The tor, content, at DDB Chicago, lead rector at Wieden+Kennedy. Shelford founders are editors/principals Clayton Hemmert and Chuck Willis agency for bud.TV. “While all brands and Knecht came aboard HSI as a di- and editor Adam Liebowitz....Commercial veteran Jonathan Miller, who exited the presidency of bicoastal Harmony Pictures last year, has can find ways to communicate and rectorial duo late last year. launched Jonathan Miller & Co.....Eric Yealland, who directed spots for create dialogue through content, An- Meanwhile Donnie Briggs: Life Canadian agencies via The Partners Film Co. in Toronto, has gained his heuser-Busch is in a special position. Coach, Future Man, Channel 5-4-6 fi rst U.S. representation, signing with bicoastal G.M.S. Productions. The launch of a bud.TV network is Puppet News Team and Ice Vision & a natural extension of the entertain- Chef were all directed by Matt Pied- March 9, 2007 SHOOT 3 News

PEOPLE & PROJECTS Steve Caplan Departs AICP, Is Set To Join Agency GMMB

By Robert Goldrich that could become a client for com- people.” Particularly gratifying, he were created and targeted for com- to reality, which provided reimburse- LOS ANGELES—Steve Caplan has mercial production houses; GMMB reflected, are such accomplishments mercial producers, meaning that there ments of certain film-related costs exited his post as executive VP of has worked with several AICP pro- as having had a hand in L.A.’s busi- was major recognition of our industry’s incurred by qualified production com- the Association of Independent Com- duction company members over the ness tax reform to benefit small inde- importance to the economy’s financial panies when shooting on local, state or mercial Producers (AICP) to become years on spots and campaigns. pendent producers and in New York health and wellbeing,” related Caplan. federal public property in California. a partner in Greer Margolis Mitchell Furthermore, Caplan while at State’s recent enactment of tax credit Additionally, Caplan was an integral On all those incentive fronts, Ca- & Burns (GMMB), a full service ad AICP was recently elected first vice incentives for commercial production. part of AICP’s efforts to bring the plan’s expertise in government and agency and media firm that focuses chair of FilmL.A., the Los Angeles “In both those cases, the initiatives former Film California First program Continued on page 24 on major social issues (environmen- region’s private, nonprofit film office tal protection, healthcare, education) charged with facilitating on-location as well as political campaigns. Caplan production. Now as a GMMB staffer, Beast Roars With Watzke, Expansion will head the Los Angeles office of he assumes his FilmL.A. board posi- the Washington, D.C.-headquartered tion, bringing to that organization an By Robert Goldrich spots. Watzke’s other credits include pany’s alluded to Texas shop features GMMB which also maintains an of- informed perspective not only on the SANTA MONICA—Bicoastal editorial the Madonna and Ray Charles com- recently signed editor Sam Selis, for- fice in Seattle. importance of commercial produc- house Beast, with a newly opened of- mercials for Pepsi via BBDO. During merly of charlieuniformtango (CUT), fice in Austin, Texas, has added edi- his career, the editor has collaborated Dallas and Austin. At press time Selis During his AICP tenure, tor Rob Watzke to its Santa Monica with such directors as Joe Pytka, Rid- had taken on a Kohler spot pack- roster. Watzke comes aboard after ley Scott, James Gartner and Terry age for GSD&M, Austin. His editing Caplan had a hand in a lengthy tenure at Red Car, which Gilliam. A winner of best editing credits include commercials for Nike, helping to bring about maintains bases of operation in such awards at such competitions as Clio Southwest Airlines, Pennzoil, Sonic markets as Santa Monica, San Fran- and the London International Fes- and the AARP. key filming incentives. cisco, Chicago, New York, Dallas and tival, Watzke has most recently cut Meanwhile, Beast has grown its tal- Buenos Aires. national campaigns for DisneyMobile, ent lineup in New York, adding editor Though his successful tenure tion to the local economy but also on Watzke is closely associated with Miller Beer and the United States Jim Ulbrich, formerly of Mad River, at AICP has ended, Caplan figures the needs of the spotmaking business Nike’s advertising over the years from Postal Service. New York. Ulbrich joins a Beast roster to still be very much involved in relative to filming. Wieden+Kennedy, Portland, includ- Watzke joins Beast—which is in New York that also includes editors the spotmaking community he has Of his AICP experience over the ing the seminal “Bo Knows” starring headed by managing partner/execu- Adam Schwartz and Paul Kelly, who served since joining the AICP in 1998 past nearly nine years, Caplan said, star athlete Bo Jackson, the Michael tive producer Valerie Petrusson, who have been with the company since as managing director of its West Coast “It’s been a great ride and I’ve gotten Jordan/Bugs Bunny series and more opened the company last year—as it is its inception. Ulbrich has cut ads for chapter. Now Caplan is with a firm to know and befriend some terrific than 15 Spike Lee “Mars Blackmon” in the midst of expansion. The com- Continued on page 24 Breathe Editor Michael Schwartz Helps Kaboom Lands Director Capture Supermodel’s Beautiful Cause Lyngdal for U.S. Spots

Documentary To Show Progress of Petra Nemcova’s Charity For Tsunami Victims SAN FRANCISCO—Kaboom produc- editing. His commercial efforts have tions, with offices in San Francisco received a number of awards at home By Nicole Rivard back, she pulls up a chair and and Los Angeles, has brought leading and abroad. In 2003, one of his com- NEW YORK--Michael Schwartz, gets really into it. It’s really Icelandic director Reynir Lyngdal on mercials for Thule Breweries was an editor at Breathe Editing in fun working with that pas- board for exclusive U.S. representa- short-listed at Cannes. New York, is a sucker for good sion. All I can say is the hours tion. Lyngdal is handled in Iceland by That same year Lyngdal was cho- causes, so he jumped at the op- fly by.” production house Pegasus. sen by the European Film Academy portunity to team up with su- So far Schwartz has seen Lauren Schwartz, kaboom’s ex- and noted filmmaker Wim Wenders permodel and tsunami survivor about five hours of film from ecutive producer, was drawn to the to create and direct the short titled Petra Nemcova to document two or three trips to Asia, director’s style which she said “com- Kissing, which was shown at the Eu- the progress her charity Happy which he used to edit the trail- bines a great visual look with quirky ropean Film Academy Awards. Lyn- Hearts Fund has made over the Dino Rinaldi, Petra Nemcova, Kenny er for a post Grammy Awards comedy, as well as an eye for physical gdal recently completed directing seg- past two years in the nations Pedini and Michael Schwartz fund-raising event. But Nem- expression that comes from his early ments of Iceland’s annual New Year’s ravaged by the Asian tsunami overcoming tragedy and the cova and friends are already dance-based films. Comedy television special, a popular of 2004. He was introduced to efforts of the people at the documenting trips to Haiti Lyngdal established himself as a program that satirizes the year’s po- the former Sports Illustrated Happy Hearts Fund, as well and Kampuchea. Schwartz filmmaking talent at an early age. By litical and pop culture events. model through Dino Rinaldi, a as a story of overcoming dif- said he is hoping to get a half- his teens Lyngdal was a prodigy, win- Married to actress Elma Lisa Gun- friend of Breathe Editing Execu- ferences in language, reli- hour film out next year. “But ning numerous awards for video art narsdottir, Lyngdal in his spare time tive Producer Kenny Pedini. gion, customs and politics to Petra is very ambitious so it and short films. After studying cin- deejays music for the club youth in “Here’s an opportunity to change the lives of children could be sooner,” he said. ematic arts at the prestigious CECC Iceland—or to put it another way, di- work with images from tsunami in trouble. Nemcova is the While he has worked on in Barcelona, Lyngdal returned to his rects crowds via music. He is also de- and earthquake affected Thai- tour guide in the film, taking other documentaries—long native Iceland. Not forgetting his ar- veloping a thriller-genre feature film. land, Indonesia, Sri Lanka and viewers from the building of pieces on Miles Davis, Dave tistic roots, he directed a slew of cho- Lyngdal joins a kaboom spot direc- Pakistan taken by a supermod- schools in Indonesia to the Brubeck and Billy Joel for reographic shorts, winning awards torial roster that consists of Brandon el who survived the tsunami as mobile medical clinic or or- SonyBMG, and a couple of and exhibiting around the globe in- Dickerson, Gary Shaffer, Doug Wer- she visits the projects her char- phanage in Sri Lanka. independent films—those cluding at the Reykjavik Short Film by, Danny Weisberg and the team ity is funding. Coming from a “She is also our tour guide projects were more narrow Festival, the Prague Shorts Festival, know as Sausage (John Benson and background in journalism and in the edit room, appreciating in scope, usually focusing on the St. Petersburg International Film Ward Evans). Headquartered in San history, and having a love for the work and creativity and one story or situation. Festival and the Toronto Internation- Francisco, kaboom recently extended editing, how could I pass this partnering on structure and “This film is a collection of al Film Festival. its reach to Southern California with up?” he told SHOOT recently. focus,” explained Schwartz. situations loosely threaded Lyngdal ascribes to a hands-on the launch of Boom, a Los Angeles He describes the documen- “Yes she hangs out in the edit together by the love of this filmmaking approach, immersing shop specializing in music videos and tary as a story about people room and doesn’t sit in the Continued on Page 25 himself in the creative process from music-driven branded projects, with the initial conceptualization to final Dickerson as the marquee talent. 4 SHOOT March 9, 2007

News

Barbary Post Signs Ian Montgomery Short Takes By Robert Goldrich editor Sheila Sweeney formed Bob ‘n PINBALL WIZARD SAN FRANCISCO—Barbary Post, the Sheila’s Edit World, which enjoyed a A young man walks out of a corner market with his purchase, a San Francisco shop launched about a 10-year run in San Francisco before can of Pepsi, in hand. He pops it open and then suddenly a huge year ago by editor Bob Spector, has closing in ‘03. He went on to join Los boulder-sized Pepsi logo ball is seen careening towards him. It brought cutter Ian Montgomery on Angeles-based Jigsaw and then re- runs him over, picking him up as a passenger as he bounces all board. A native of Sydney, Australia, turned to the Bay Area to edit briefly about through the streets of Montgomery moved to San Francisco at Red Car, San Francisco, and then San Francisco. Indeed he’s in late 2004. Teak prior to making the decision to become at one with this pin- He most recently served as a staff form Barbary Post. ball as the wild ride has him editor at Teak, San Francisco, where Spector is best known for his initially going down S.F.’s his credits included spots for such dialogue and comedy work, includ- famed winding crooked clients as EA Games, Nike and Coca- ing such Super Bowl fare as the Lombard Street. Each time Cola out of Wieden + Kennedy, Port- high-profile Budweiser “Lizards” it hits the sidewalk “bum- land, Ore., and Sega and Comcast Ian Montgomery campaign through GS&P. He also per,” the Pepsi ball with guy via Goodby, Silverstein & Partners which was directed and written by cut that agency’s long-running, men- aboard bounces about in #,)#+(%2%4/6)%730/4 (GSP), San Francisco. He earlier Rupert Gilason, and shown at Sun- in-chicken-suits campaign in which pinball machine fashion. freelanced at San Francisco shops dance in ‘03, as well as the Puven talking fowls unsuccessfully pretend He and the ball wind up being propelled throughout the city, at Umlaut, Rough House and at GSP’s Pather-helmed The Shot and the Rob to be fresh California born-and-raised one point kept “alive” by “flipper”-like parking lot gates, deflect- in-house post facility. Baldwin-directed A Wonderful Day. Foster Farms poultry. Spector began ing off a police car, hitting the Coit Tower, bouncing off of cable Montgomery additionally has a The latter was screened at more than his career as an assistant at Cutters in cars and various other tourist attractions along the way. We see long-running association with the 100 festivals while The Shot played to Chicago, where he spent two years the cityscape—highlighted by the Transamerica building—illu- Olympics, having worked for the festival audiences in Cannes, Venice before moving to Northern Cali- minated by flashing lights like a pinball machine. The ball stops Australian Television Network, and Palm Springs. fornia in ‘89. Before Bob ‘n Sheila’s briefly atop a manhole which then explodes, sending - himsky Channel 7, on the past two Summer On the long-form front, Mont- Edit World, Spector cut at such now ward. He lands for more hyper speed adventure, which includes and Winter Games. gomery is currently cutting his first defunct San Francisco edit houses as being hit by an underground BART train which knocks him even- His experience also extends to re- feature film, The Village Barbershop, Fleet Street and Good Pictures. tually into a stadium, at which point he is mercifully cast off the ality and magazine-style TV shows with writer/director Chris Ford. Kristen Jenkins continues as ex- pinball. The stadium’s electronic billboard lights up with a Pepsi in Sydney and he has cut upwards of ecutive producer at Barbary Post. logo and tally—and the ominous message that he’s earned an ex- 20 short films with screenings at as- Spector She’s been with the company since its tra ball. Sure enough, another ball appears and is about to whisk sorted film festivals, including Sun- Barbary Post represents Spector’s inception. Prior to that, she produced him away as the fun spot ends with the logo—now on the Pepsi dance and Cannes. second foray into entrepreneurial work for The Whitehouse and Red can—accompanied by the slogan, “More happy.” Among those shorts is Teratoma, waters. For the first go-around he and Car, both in Chicago. This :60 was directed by Traktor via bicoastal/international Par- tizan for BBDO New York. The BBDO ensemble included chief ARTISANS creative officers David Lubars and Bill Bruce, exec creative direc- tor Don Schneider, creative director/copywriter Brad Roseberry, Aero Hits Target With Agency Vet Meloth creative director/art director John Leu, executive producer Amy Wertheimer and executive music producer Loren Parkins. Matt SANTA MONICA, Calif.—Tom Melo- Plus I’ve worked with some great producing corporate films and com- Libatique was the DP. Method, Santa Monica, handled visual ef- th, perhaps best known for his tenure creatives. Clients love new media, mercials for such clients as AT&T and fects. Paul Martinez of bicoastal Lost Planet edited the spot. as partner/executive producer at Euro but until really the last several years British Telecom. Meloth then sold RSCG/MVBMS, New York, has joined there was either a lack of funding or his share of the company and began THE ONE Santa Monica-based production house not enough broadband penetration. freelance producing. “Remember Dave Laden of San Francisco boutique Teak recently saw his film Aero Film as executive producer. That’s all changed. Agencies now those black-and-white ads with the The One, which he wrote and directed, take best short film hon- Meloth, whose work at Euro RSCG have money specifically set aside for bright yellow little pill called Nuprin? ors at the San Francisco Independent Film Festival. The short included award-winning campaigns these efforts, plus broadband has I worked on that—it was great to be im- chronicles the bond that forms between a man and a girl he just for Volvo, MCI and Intel, will work mortalized in Wayne’s World,” Melo- met, showing us how their relationship evolves—and doesn’t closely with Aero president Skip Short th laughed. Then in ‘92 he landed a evolve—over time. and exec producer Lance O’Connor. freelance gig as senior producer for Aero’s directorial roster includes Messner, Vetere, Berger, McNamee, PEOPLE IN THE NEWS Ken Arlidge, Henrik Hansen, Klaus Schmetterer/Euro RSCG, working on Aric Ackerman has been named CEO of The L.A. Studios, Inc., par- Obermeyer, Brent Jones and Nelson Club Med, MCI, NASDAQ and Volvo. ent company of Southern California’s audio post houses L.A. Stu- McCormick. “Both Skip and I wanted After four years Meloth moved dios, Margarita Mix, Hollywood, and Margarita Mix de Santa Mon- Tom here at Aero Film from day over to Cliff Freeman and Partners, ica. Ackerman, formerly COO for @radical.media, succeeds Jesse one,” said O’Connor. “The timing was New York, where he served as senior Meli in The L.A. Studios post. Meli continues with the company finally right. Coming from agencies VP/director of broadcast produc- as president emeritus, consulting on business development op- such as [Euro RSCG] Messner and tion but returned a year later in the portunities....Frank Devlin has been named head of production at Cliff Freeman, Tom possesses a deep role of exec producer/group head of New York-based Version2. The understanding not only of traditional the then newly named Euro RSCG move marks his return to the ad agencies, but of new media as well. MVBMS Partners. company as he earlier served Tom is helping Aero to broaden its “Aero is already in its third year a as executive producer of its vi- base while still maintaining a high Tom Meloth $30 million dollar production com- sual effects/motion design di- standard. He will help us also with reached really quantifiable levels to pany with some great talent,” says vision (formerly Liquid Light). non-traditional production projects make it worthwhile. We’re going to Meloth, who over the years worked He most recently was exec pro- executed in a straightforward way. help agencies help their clients in this with such noted directors as Nick ducer at New York music/sound It’s really a continuation of the work new world of media choices.” Lewin and Peter Smillie. design house Tonal and then Tom’s been doing on the agency side Meloth broke into the biz at Grey “I’m going to broaden Aero’s base, Aric Ackerman worked at Mass Market, New for the past 10 years.” Advertising, New York, making his help to develop some talent already York, on assorted projects.....Tabletop director/cameraman Tom Meloth related, “I’ve been lucky in way up to producer. After three years working here while using my expe- Bracone has joined Harpoon Pictures, the New York production that I’ve always worked for clients ex- Meloth decided to jump over to the rience to help agencies get the most house headed by president/executive producer Chester Mayer cited about exploring different ways production side, creating Manhattan for their clients in terms of executing and exec producer Jose Alvarez.... of connecting with their customers. based-TMF Metro in the early 1990s, great advertising.”  SHOOT March 9, 2007

News Shine the HD Essentials SPOTLIGHT By Carolyn Giardina “The Year of HD” And On Your Company New Challenges In his opening remarks at the 2007 Hollywood Post Alliance (HPA) Technology Retreat, held last month in Rancho Mirage, Calif., industry veteran Mark Schubin declared 2007 the “21st Annual Year of HD.” “There will be more [HD] displays and more programs than ever be- Reserve ad space fore,” he said, generating laughter from the audience. There was a lot of truth in his humor. Year after year, we have heard now in SHOOT’s manufacturers, broadcasters, the consumer electronics industry and others making statements about HD’s progress. March 23rd This has been particularly true for the past decade. It was in De- cember ’96 that the FCC passed the Fifth Report and Order, begin- ning a transition from an analog broadcasting system in the United DIRECTORS Issue States to one that is digital. Digital television aff ords numerous op- portunities. The most loudly trumpeted was the ability to broadcast It’s the Hands-down Absolute Best Way to high defi nition imagery. In the early years of the transition, HD postproduction equipment get your potential clients to take notice—Advertising was not commonly available, and the industry saw some pioneers such as The Tape House in New York introduce then new technolo- Agency Creatives & Producers (every title from CCO to gies such as the Spirit Datacine. This was a huge challenge for com- mercial production. every level of CD & AD, from Head of Production to Since then, the tools have matured, and now HD production and post is no longer the issue it once was. As well, the United States every level of producer) and Production/Post Industry has seen growth in HD set penetration, increased consumer aware- ness, and a larger amount of available programming, all of which are executives & Artisans have been reading and saving steadily moving an HD transition forward. There have also been some notable changes along the way. Ten years SHOOT Directors Issues for more than 40 years! ago, HD was primarily about television broadcasting. Today, the consumer electronics industry is touting HD for an increasing number of platforms. This past year saw the introduction of two (incompatible) high defi nition DVD formats for the home: Blu-Ray Disc and HD DVD. More This issue offers the Flat-out best environment to be recently, Warner Home Video announced the development of the Total Hi Def disc, which is able to contain dual layers of both HD DVD and seen in! Your clients will be reading this issue to learn Blu-Ray on one disc. The fi rst Total Hi Def releases are scheduled to hit retailers during the about companies they may want to work with. second half of this year. Call now for best positioning! The games market is also going HD. Sony’s new PlayStation 3 is capable of playing the Blu-Ray format while Microsoft’s XBOX 360 supports HD- DVD. With the proper equipment, consumers can even Advertising Deadlines download HD content off the Internet. Space Reservations: March 14 Content Is King With these new opportunities, image quality is still the driver. But Ad Material Due: March 19 today, that advantage may not have the same impact as it once did. During the HPA Retreat, industry pundit Jerry Pierce (who is featured East/Midwest: Robert Alvarado 203/227-1699, ext 15 in this week’s Chat Room), pointed out that today, consumers want “the best quality possible for their entertainment [i.e. television, [email protected] computer, iPod or PDA] because it is more important to get what they West Coast: Carl Gilliard 818/763-2678 want, when they want it.” [email protected] Today, consumers want their content anytime, anywhere and on any Publisher: Roberta Griefer 203/227-1699, ext 1312 device. They are satisfi ed to watch content on their mobile phones, PDAs, iPods and the like. And, consumers are even becoming their own [email protected] content producers and their own programmers. At the HPA event, John Godfrey, VP of government and public aff airs for Samsung Information Systems America, described his company’s vision of the future of entertainment. It is HD, and it is connected, interactive, time shifted and mobile. Godfrey, Pierce and other presenters drew the same conclusion: The primary entertainment driver is the story. Content is still king. Once technology was the key element that challenged advertisers in the HD realm. But that has changed. Grabbing viewers attention in a fragmented market with multiple distribution platforms is now advertising’s greatest challenge. > WWW.SHOOTONLINE.COM *** Send HD-related news to Bob Goldrich at [email protected].

8 SHOOT March 9, 2007 AICP Looks To Future

Continued from page 1 forms of content.” that involves new practices and stan- Miller noted that the AICP will dards—and new forms of compensa- soon schedule a New York session to tion—that speak to the future of pro- update East Coast membership on the duction companies.” work of the AICP.next committee. And arguably that future has al- “Once our members familiarize them- ready arrived as reflected in the re- selves with what the next.committee sults of the AICP’s recently released has done,” said Miller, “we intend to fourth annual Survey of the Commer- share it with agencies and clients.” cial Production Industry. Among the key findings of the study—indepen- Gilmartin TELL BETTER dently conducted by the Los Angeles- Underscoring the importance of based research firm Goodwin Simon the nontraditional content arena and Victoria Research—is that commercial related new business models covering producers are “deeply involved” in compensation and other aspects, the creating non-traditional advertising. AICP has brought Denise Gilmartin Nearly seven out of 10 members (69 on board to serve as VP of business percent of those surveyed) produced affairs and nontraditional media, a “non-traditional advertising projects” newly created post. STORIES. during the study year of 2005. By far For the last nine years, Gilmartin the most common format for such has been running her own consulting projects was an Internet or broadband business, Denise Gilmartin & Associ- viral, followed by original content ates, which had her providing CFO (branded entertainment). expertise to assorted commercial pro- duction houses. Prior to that, she was Next grids executive VP/CFO at RSA. The aforementioned AICP gather- Throughout her tenure at RSA ing in Los Angeles got a look-see at the (1992-’98) and her own consultancy work done thus far by the AICP.next firm, Gilmartin has been proactive in committee, which is chaired by direc- the AICP, either serving as West chap- tor Massimo Martinotti, a member of ter treasurer, heading AICP’s group of the AICP board of directors and ex- CFOs/comptrollers, as a board mem- put some into it. ecutive committee. (Martinotti is also ber or assuming a lead role on the president of AICP’s Florida chapter AICP’s ongoing analysis of advertis- and of Mia Films, a production house ing agency production contracts. “She based in Miami with offices in Mexico, brings a great knowledge of the indus- Argentina and Costa Rica, and associ- try and much needed context to her ate offices in Europe.) role at AICP,” said Miller. “That con- The meeting presentation included text is knowing the business affairs, the screening of filmed interviews contractual aspects and other issues with a cross-section of people pri- of commercialmaking inside out—and marily from outside the commercial now helping us apply those to the new production house community, with media landscape in the nontraditional varied perspectives from the likes of media part of her position with us.” futurist/author/educator Ken Robin- Indeed Gilmartin’s responsibilities son and David Droga, creative chair- will span the traditional spotmaking man of bicoastal agency Drogafive, biz (business affairs, agency contract among others. analysis, client guidelines, issues such Also unveiled at the meeting were as wrap-up insurance) and nontradi- thoughtequity.com grids that outlined the flow and pro- tional content as she works closely cess of creating content for various with the AICP.next committee to 866.815.6599 media spanning branded entertain- the benefit of the trade association’s ment, cell phone/hand-held fare, membership. Gilmartin will also run virals, etc., accompanied by recom- the AICP’s Los Angeles office, taking mendations as to how production the reins from AICP executive VP A professional licensing firm providing Access companies should be compensated Steve Caplan, who has departed to as well as Rights and Clearances to the world’s for each of them. join Greer Margolis Mitchell & Burns, finest motion content from Sony Pictures, HBO “There are certain elements of an ad agency and media firm that fo- Archives, National Geographic, NCAA and compensation if a company is in- cuses on major social issues as well as volved in concept development political campaigns (see separate story other premium libraries. and content creation,” said AICP in News section). president/CEO Matt Miller. “This “The chance to use my skillset as breaks the traditional work-for- a CFO and extend it into all these hire model and moves into such areas at AICP is what drew me to areas as ownership and retention this position,” said Gilmartin, noting of intellectual property, holding an that also appealing to her was being equity stake in content. The grids able to embark on her new role at a also addressed key aspects like con- time when the industry has reached tract language, guidelines and how an exciting crossroads with new me- our client union contracts might dia and content creation opportuni- or might not plug into these new ties emerging. March 9, 2007 SHOOT 9 CHAT ROOM

Jerry Pierce A Hollywood View Of The Future Of Entertainment

By Carolyn Giardina Since ’99, Pierce has been involved with the Society of Motion Picture Jerry Pierce most recently held the position of senior VP and Television Engineers (SMPTE) digital cinema work. He was chairman of of technology at Universal Pictures. He joined Universal in SMPTE-DC28.2—Digital Cinema Mastering and in ‘03 became chairman of 1995, and formed the Motion Picture Technology Offi ce for SMPTE-DC28.10—Mastering. Prior to joining Universal, Pierce established Universal in ‘00. His projects included digital cinema, next the joint project with Matsushita Electric Industries (Panasonic) for DVD generation DVD, electronic sell through, home servers/ disc authoring and high defi nition telecine transfers. Before Universal , he networks and copy control technologies. was VP of Eidesign Technologies, an innovator in the design of MPEG-1 He was a member of both the technical committee and video encoder systems and services. Eidesign participated in Video On the management committee of the studio consortium Demand test systems as well as the emerging Video CD markets. Digital Cinema Initiatives (DCI) and was on the board of Pierce was a member of the SRI International (Stanford Research Insti- USC’s Entertainment Technology Center. He continues to tute, Menlo Park) team for more than 13 years; he served as director of the be an associate member of the American Society of Cin- electronics technology center. The ETC team worked with consumer elec- ematographers, VP of the Hollywood Post Alliance (HPA) tronic companies in the development of new products in areas including and is chairman of the Inter-Society Digital Cinema Forum image processing. He holds a MSEE degree from Stanford University and a (ISDCF). Pierce recently left Universal to return to his home BSEE from UC Berkeley. He has been issued more than 15 patents on opti- in the San Francisco Bay Area. cal cards, hybrid optical/magnetic memories and scanner systems.

SHOOT: At the recent Hollywood loading, will grow substantially. and only marginally for television. the show to start, but your eyes go to SHOOT: The Entertainment Tech- Post Alliance Technology Retreat in This TV content will be consumed As with most major changes the watch the side ad—it is not offensive, nology Center at USC produced Palm Springs, you keynoted a super- primarily on computers. business models will be very impor- but very effective. That’s value for a full-day program last year titled session titled “Predicting the New 3) I think the main TV in the tant. Rental of movies can be very you and the advertiser. “Other Digital Stuff,” which ex- Home: Where and How Will Consum- house will have a general-purpose attractive, but without proper busi- plored the different types of alter- ers Be Entertained.” We also heard computer as one of the sources for ness models behind them, it will be SHOOT: What are the biggest chal- native content that may find its from representatives of companies in- content. I think movie libraries will difficult to have them launch. lenges to getting to the digital home way onto movie theater screens. cluding Google, Panasonic, Samsung move from physical DVDs to large of the future? The topic was prompted by move- and Microsoft (SHOOT, 2/9, p. 4). hard discs containing hundreds of SHOOT: How will these things im- ment toward digital cinema distri- What is your view on where and how movies. This will follow the path as pact advertising in the future? What Pierce: As your question suggests, bution and projection. In addition consumers will watch entertainment music did when it moved from CD’s do you think advertising will look like there are many challenges to getting to feature films, what sort of con- in the future? to iPod libraries. in the future? to a digital home, from real broad- tent/opportunities do you expect to become popular for screening in Pierce: To put things in perspec- Having wrapped a digital cinema theaters? tive, it is always a good assumption that change in consumer behavior successful tenure at Pierce: Digital cinema offers a new will be slow so in the near future Universal, Pierce—seen palette of opportunities for creative (one to five years) most people will expression. The obvious new uses continue to be entertained in the here at the recent HPA will be in pre-show. I think we will same way as today—on television, see very creative use of the new pal- purchased DVD and also in the- Tech Retreat—looks to ette first in trailers, advertisements aters. It is the trends that need to entertainment’s future. and short films that run before the be watched. main feature. This is where experi- It is easy to name all the new ments can take place. We can use ways of acquiring content and new But I should give my opinions on Pierce: It is a fragmented market- band (meaning 10-20mb/sec), to a the 48 fps feature of digital cinema places to consume content. The which ones may not become that suc- place and advertising will need to good living room experience. If I were and the use of multiple versions for difficulty is saying which ones will cessful—this is a bit dangerous, but be very fragmented. For new media, to pick two, they would be: different audiences. Short form may have a major impact on the indus- what the heck! Google seems to get it right. Those 1) Building a home “ecosystem” be a good use of the pre-show. try in five to ten years. 1) I don’t think NexGen DVD—ei- targeted ads work. that consumers can easily set up, eas- I think digital cinema’s primary My crystal ball is fairly cloudy, but ther BluRay or HD-DVD will become I think advertisers and content ily maintain, and easily use. Right now goal is to make the movie experi- here are my top-level guesses: anywhere near as successful as DVD distributors will be better at hitting we are a long, long way from that. ence the best it can be. This is the 1) Distributing content will be far for the studios. us with information/ads that are not 2) Consumer trust in new media. first time we can bring the quality more fractured than it is today. DVD Consumers will find the extra cost offensive, but effective. Why would a consumer purchase a of an answer print to the average is here to stay for a long time. We and lack of flexibility as a major deter- As an example, when you go to movie if they were not sure it would theater. Of course when digital cin- will add new ways of distributing rent to re-buying titles. They may watch a streaming show, you assume be useable in a year? Consumers are ema is fully deployed, we will see content and erode the market share buy the hardware, but not titles. that it takes a while to start the video willing to buy iTune tracks—they trust more creative uses of alternate end- of current methods, but they won’t 2) Hand held video displays would (buffering, access, etc.), but in reality they will be around. But BluRay/HD- ings, interactive experiences with go away. be part of the landscape for very you are “forced” to watch a side ad— DVD? Plays-for-sure? Rental makes theater audiences and cinematog- 2) The Internet delivery of TV short forms—trailers, jokes, music either a click through or a streaming for an attractive offering, but do the raphy tricks that you can’t do with shows, both streaming and down- videos—but not critical for movies ad. It has your full attention to wait for business models support rental? a film release. 10 SHOOT March 9, 2007 News

Creative Focus: Grupo Gallegos Strives To Cure Schizophrenia Juan Oubiña Affirms Need For Consistency Of Brand Personality Across Hispanic And Mainstream Markets

By Robert Goldrich to the point where they can chomp lably during childbirth, people at a The Grupo Gallegos account roster groom new talent, the next genera- For Juan Oubiña, group creative di- down and carry heavy objects all over funeral laugh while standing around includes Energizer, California Milk, tion of creatives for the agency,” ex- rector at Grupo Gallegos, Long Beach, the city. And in “Amazing Contor- a casket. Two vehicles collide, an ac- Comcast and bus company Crucero. plained Oubiña, who reports to Grupo Calif., making too great a distinction tionist,” a family of circus performers cident that causes both drivers to While the thrust of his work has been Gallegos’ chief creative officer Favio between U.S. Hispanic and so-called exhibits amazing anatomical flexibil- laugh. On this island, milk is essential in traditional media, he noted that the Ucedo. “It’s hard to find young people mainstream English-language adver- ity thanks to milk. The tagline to all because it not only gives you a sunny agency is exploring longer form con- who know how to really write ads tising can be a costly mistake. three spots—directed by Andy Fogwill disposition but also healthy teeth, tent prospects and emerging outlets. well in Spanish. A lot of the young tal- “You don’t want a schizophrenic via Landia, Buenos Aires, and Colibri which you can flash while laughing. That eye to the future is also re- ent ends up gravitating to places like brand that has one personality in the Films, Hermosa Beach, Calif.—was A third spot, “Law of Gravity,” flected in Grupo Gallegos’ launch Goodby anyway. So we have to have a English-language market and anoth- “Toma Leche” (“Drink Milk”). isn’t scheduled to premiere until May. of an office in Buenos Aires just two farm system, tapping into other coun- er in the Hispanic market,” he said. The follow-up campaign this year In this ad, we are taken to a place of months ago. Oubiña supervises a cre- tries for promising talent.” “You have to maintain consistency in consists of three more “Toma Leche” weightlessness where accidents are ative team there that is turning out In that vein, he disclosed that Gru- brand personality because many His- ubiquitous. Here, people drink milk concepts and projects for Crucero in po Gallegos hopes to have an office in panic viewers are watching both Eng- for strong bones that won’t break as the stateside Hispanic market. Mexico City up and running before lish and Spanish-language television. a result of all these mishaps. “We opened in Argentina to help year’s end. Essentially, we’re one market.” This newest “Toma Leche” batch Shortly after joining Grupo Gal- of commercials was co-directed by Lu- legos a little more than two years ago, ciano Podcaminsky and Armando Bo. Oubiña scored his first major coup at Podcaminisky is repped by Agosto in the agency, helping it land the Cali- Spain, Rebolucion in Latin American fornia Milk Processor Board account. and @radical.media in the rest of the HXdjii]ZLdgaY Grupo Gallegos in turn embraced world. Bo is handled by Anonymous an approach in sync with maintain- Content in the United States and In- ^cHVciVBdc^XV ing a consistency in brand personal- dependent in the U.K. ity throughout the marketplace. The client’s previous agency had created Lion worthy a campaign centering on the tagline Juan Oubiña Grupo Gallegos has made a major “Familia, Amor y Leche” (Family, commercials, two of which recently creative mark for a relatively young Love and Milk). debuted on air: “Dream Town” and agency. Formed five years ago, it won “This traditional family theme was “Laughs.” In the former, we are tak- a Silver Lion at the Cannes Interna- entirely different from ‘got milk?’ en to a fantasy land in which people tional Advertising Festival in ‘05 and a [the longstanding English-language get whatever luxury/sports cars they Bronze Lion last year on the strength campaign from Goodby, Silverstein desire, there are lottery-winning of its Eveready Energizer ad fare for & Partners, San Francisco] that has masses, a man has an eye on the back U.S. Hispanic audiences. been so successful with its light-heart- of his head so that he can be attentive Inspired creative for Energizer con- ed tone and special brand of humor,” to wife and baby in the foreground tinued with the latest spot, “Immor- related Oubiña. “So we decided to be while watching sports on TV in the tal,” which made SHOOT’s “The Best more in the spirit of the brand per- background—in short, everybody’s Work You May Never See” gallery sonality established in the ‘got milk?’ dreams come true. In the last scenar- last month. The commercial intro- campaign and to showcase the ben- io, we see a teen boy drinking a glass duces to a man who cannot be killed efits of drinking milk because at that of milk before going to bed. That’s be- as we seem him emerge from what time milk consumption was decreas- cause milk helps everyone get a good normally would be fatal accidents. ing among Hispanics.” night’s sleep and the better you sleep, For him, relatively speaking, nothing This translated into last year’s well the better you dream. As he nods off, else but him lasts—with the exception received package of comedy spots we see four young, hot-looking, swim- of Energizer batteries and its famed in which we see the positive effects suit-clad women singing him a lullaby pink, drum-beating Bunny mascot. of milk on certain communities and in his bedroom. Ah, the dream has “Immortal” was directed by Nicolas families. In “Amazon Hair Goddess,” already kicked in. Kasakoff of Flip Films, Mexico City. a village of women use their long In “Laughs,” we’re placed on an Weaving the Energizer Bunny—an hair to amazing ends, including las- island where all its inhabitants are icon created by TBWA\Chiat\Day, soing a wild horse. In “Teeth,” milk laughing no matter what the circum- Los Angeles, for the mainstream ÓääÇ has strengthened people’s choppers stance. A woman chuckles uncontrol- market—into the Spanish-language campaign again underscores Grupo Gallegos’ philosophy of maintaining
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«ÀˆÊ£ÓÌ ]Ê£ÎÌ ÊE£{Ì Ad vet N Oubiña came to the United States some 11 years ago from Argentina. œÀʈ˜vœÀ“>̈œ˜ÊۈÈÌÊÜÜÜ°>vVˆ°œÀ}]ÊV>ÊÎÓΰnxÓ°{Ç{Ç He broke into the agency arena as a writer with Southern California-based œÀÊi“>ˆÊ“>}}ˆiJ>vVˆ°œÀ}° Hispanic shop Casanova Pendrill. He moved up to being a creative director there, working on such accounts as DirecTV and X-Box. A couple of years back, he came aboard independent agency Grupo #,)#+(%2%4/6)%730/4 Gallegos as a group creative direc- California Milk Processor Board’s “Dream Town” tor overseeing three creative teams. March 9, 2007 SHOOT 11 Top Spot of the Week Dir. Paul Hunter, Moneyshots Take A Deep Breath for Nike, W+K, Shanghai By Christine Champagne Moneyshots artisans had a true part- we figured it out as we went along.” Hunter during the shoots. “One thing A global :60 spot for Nike created by ner in Hunter. “We work a lot with It was a long journey. For nearly that attracted me [to this commercial] Wieden+Kennedy (W+K), Shang- Paul,” Offer said, “so there was a level two months, Hunter and his crew on the creative end,” Hunter pointed hai, and titled “Breath” finds a bevy of comfort there for me to put my two traveled around the world, from Los out, “was the idea of the athletes of world-class athletes—including cents in creatively.” Angeles to London, shooting the ath- breathing in their preparation and basketball great Kobe Bryant, ten- The process started with the cre- letes greenscreen as they worked out. making that synch up and become nis ace Roger Federer and soccer ation of a pre-visualization that start- At one point, due to a scheduling con- one kind of energy.” star Ronaldinho—all training on the ed with stand-ins representing each flict, Hunter actually found himself same indoor athletic field. It is quite a of the athletes being positioned on a directing Federer, who was in Barce- sight to see, but it didn’t happen for full-floor set-up of the athletic field, lona, via satellite from New York. top real—getting even two which was later cre- of these superstar ath- ated in CG using Maya. Playbook letes together would DP Matthew Libatique Was it hard for the athletes to un- Spot have been a miracle shot digital stills of the derstand their roles in “Breath” given of the week of scheduling. Ulti- stand-ins to get a sense that they weren’t working with their CLIENT mately, they wound of what compositions co-stars in person? “What helped the Nike up rubbing shoulders would make the most athletes was the pre-vis,” Hunter said. through the magic of sense. Measurements “Because we had the pre-vis, I was AGENCY visual effects. were also taken to map able to walk them over to the monitor Wieden+kennedy The spot’s director, out where the camera [at each shoot] and show them some Frank Hahn, creative director; Kai Zastrow, art director; Eric Cruz, ex- Paul Hunter of bicoast- needed to be for the of the pre-vis stuff, show them the ecutive art director; Nathan Gold- al/international HSI subsequent shoots part that they were playing.” berg, copywriter; Elissa Singstock Productions, worked Paul Hunter that would be done The most complicated part of and Robyn Boardman, producers. closely with Moneyshots Post, Santa with the real athletes. the shoot, according to Hunter, was Monica, to create a remarkably convinc- “It was priceless,” Hunter said of working with Bryant and fellow bas- PRODUCTION COMPANY HSI Productions,bicoastal, ing illusion. Asked to outline the chal- the resulting pre-vis. “We couldn’t ketball superstar LeBron James to international lenges presented by the project, Mon- have done this without it.” make it look like they were interact- Paul Hunter, director; Matthew Li- eyshots Post Creative Director/Lead Of course, there were some bumps ing in the same space and guarding batique, DP; Tim Lynch, producer. VFX supervisor Elad Offer said with a in the road. “During the process of the each other when they were in fact EDITORIAL laugh, “Pretty much everything.” shoot, some athletes dropped out, and never in the same room together for Rock, Paper, Scissors, Los Angeles He was only half joking. “The big- some others came in,” Offer related, the commercial. Angus Wall and Brad Waskewich, gest challenge with these kinds of jobs “and height makes a difference. If you editors; Linda Carlson and Carol is balancing the pressures of produc- had composed a shot for somebody Compositing challenge Lynn Weaver, executive producers; Paul Plew, assistant. tion with what we need to do on set. who is six-foot-six, and you now have Once Hunter finished his ambitious We have to think things through,” Of- to work with somebody who is six- worldwide sprint to capture all of the POST fer said, “or it won’t come together in foot, the composition is different. So athletes on film, the Moneyshots crew Company 3, Santa Monica the end.” Thankfully Offer and the there was a lot of that to deal with, but set about compositing them (using Stefan Sonnenfeld, colorist; Missy Papageorge, producer. the Inferno and Shake) onto the CG athletic field. “This was definitely a VISUAL EFFECTS big challenge [in terms of composit- Moneyshots Post, Santa Monica. ing] because of the sheer amount of Elad Offer, creative director/lead VFX supervisor; Yuji Yagasaki, layers,” Offer acknowledged. “Every lead 3-D artist/3-D supervisor; athlete is his own layer, so getting Wolfgang Maschin, Phil Broste, them to the point that they actually Eric DeHaven, Maya Korenwasser- Bello, compositors; Bryan Taylor, felt like they were in the same space Eric Deinzer and Mattaniah Yip, ro- was something that was very impor- toscopers; Nick Brooks, additional tant in the compositing process.” on-set VFX supervision; Kristien Hamilton, executive producer; The compositing was completed Daniel Mansury, VFX producer; in a three-week timeframe, with arti- Kristina Maniatis, assistant VFX sans working multiple shifts on three producer; Matthew Lamb, 3-D Infernos and a pair of Shake stations. artist/shot resolution; Eric Lee, Anita Edwards and Sarah LaPenna, Editors Angus Wall and Brad character animators. Waskewich of Los Angeles-based Rock Paper Scissors cut the spot, SOUND DESIGN which features a soundtrack of breath Elias Arts, Los Angeles. David Gold, creative director; sounds that capture the intensity of Ann Haugen, executive producer; professional athletes training. Kenny Segal and Nate Morgan, The process of creating the composers; Dean Hovey, sound soundtrack was complex. Timbaland design. AUDIO laid down a track, and in the end, Eleven Studios, Santa Monica. portions of that track were incorpo- Jeff Payne, mixer; Mike Franklin, rated into the final track composed assistant mixer; DJ Fox-Engstrom, by Kenny Segal and Nate Morgan of executive producer. RavensWork, Venice. #,)#+(%2%4/6)%730/4 Elias Arts, Los Angeles. Dean Hovey Robert Feist, Eric Ryan and Scott of Elias Arts did the sound design. Burns, mixers; Holly Musselman, Waiting to exhale: Bringing world-class athletes together to train—or more accurately creating the illusion that they are all at the same place at the The track includes breath sounds executive producer. same time—was the daunting challenge successfully met by director Paul Hunter, effects house Moneyshots Post and Wieden+Kennedy, Shanghai. of the actual athletes, recorded by 12 SHOOT March 9, 2007 The Best Work You May Never See Dread And Chocolate For Old Married Couple By Robert Goldrich Gigi Realini was executive producer for The Partners’ Film Company, with Chocolate and romance seem to go hand in hand. And with a storyline show- Diane Saunders serving as producer. The DP was Dan Mindel. ing a couple aging over the years, you’d figure a commercial promoting Cad- bury’s Caramilk chocolate candy bars would be sweet, perhaps dangerously Major draw so for a diabetic. Chase said he was drawn to the Caramilk job for its comedic storyline and Yet while there is indeed a sweetness to this commercial titled “Eat Fast,” the the chance to show a relationship progress chronologically yet at the same mood is not quite so loving with the wife getting a perverse jolly about keeping time stay the same relative to the wife’s behavior when it came to the choco- her Caramilk bar to herself. late bar and her husband. The director added that he particularly values the We open circa the 1950s with a young man returning home from work, his longstanding working relationship he has enjoyed with MacLaren McCann, wife on the couch about to finish the last square of a Caramilk bar. Hoping she’ll which has provided him with work spanning multiple disciplines, including give him that remaining bite of chocolate, he steps toward her only to see his comedy, drama, action/adventure and problem-solving propositions. bride immediately woof down the scrumptious morsel. Indeed he’s regarded as more of a generalist in Canadian ad circles while This same scenario is repeated through the decades with hubby and spouse his reputation stateside has been primarily in people-based comedy, notable aging fairly gracefully. But the man still hasn’t been able to get a taste of his examples including such Super Bowl advertising as Bud Light’s “I Love You wife’s Caramilk. Man” fare, Bud’s “Paper or Plastic?” spot (in which cash-strapped guys elect Finally, though, it seems he has a shot at sweet-tooth nirvana. Old and bor- to buy beer instead of toilet paper at the supermarket check-out line), Dorito’s derline decrepit, needing a metal walker to move along, he enters the front door “Laundromat” (which helped elevate Ali Landry to celeb status) and pre-kick- to find his wife with almost half a bar left. Clearly age has slowed her digestion off Pizza Hut commercials starring Jessica Simpson and The Muppets. so she’s not as far along in consuming her Caramilk as she had been years ago. “Eat Fast” certainly fuels Chase’s comedy reputation both in the United Propelling himself and his walker toward her, the man has hope etched on States and Canada. “It’s one of those spots in which the humor is grounded in his face. But his wife manages to shove the sizeable remainder of the Caramilk people and how they interact with each other,” related Chase. “It’s comedy that into her mouth. With that her initial worried expression changes to a smile as has some depth to it, which is among the things I love to take on as a director.” the yet again disappointed hubby grouses to himself and walks away. Michelle Czukar of Panic & Bob, Toronto edited the Caramilk job. A parting product shot showing the Caramilk bar, with its caramel inside ooz- ing out of a corner, is accompanied by the simple slogan, “Too good to share.” “Eat Fast” was directed by Steve Chase via The Partners’ Film Company, Client Cadbury’s Caramilk Agency MacLaren McCann, Toron- Toronto, his long-time spot roost in Canada. Chase recently shifted his U.S. rep- to Andy Manson, Kerry Reynolds, VPs/group creative directors; resentation from Santa Monica-headquartered Reactor Films to bicoastal Go Franca Piacente, head of broadcast/producer Production Film (SHOOT, 1/26). Company The Partners’ Film Company, Toronto Steve Chase, director; Gigi Realini, executive producer; Diane Saunders, pro- MacLaren McCann ducer; Dan Mindel, DP Editorial Panic & Bob, Toronto The Caramilk commercial is the latest in numerous collaborations between Michelle Czukar, editor Post Notch, Toronto Bill Ferwerda, col- Chase and agency MacLaren McCann, Toronto. In fact the director and ad shop orist Music/Sound Design Massive Music, New York Audio are no strangers to “The Best Work You May Never See,” teaming on such Post Orange Studios, Toronto Principal Actors Doug Wilford, work as X-Box’s “Tic-Tac-Toe,” which made the “Best Work” gallery in ‘03, Bill Kelley, Kristen Wharton, Bunny Hiss credits and a pair of ‘05 entries: Dentyne’s “Frozen Head” and Tylenol’s “Pistachio.” Not So Sorry Over No Sweets For My Sweetheart The latter two are akin to “Eat Fast” in that all are comedy commercials. “Tic-Tac-Toe” was also humorous but was more extreme sports-oriented and driven by fast-paced action as we see young guys playing an acrobatic game of rooftop tag, which an aerial view reveals to be a high-rise game of tic-tac-toe. The MacLaren McCann core creative team on “Eat Fast” included VP/group creative directors Andy Manson and Kerry Reynolds and agency #,)#+(%2%4/6)%730/4 head of broadcast/producer.

March 9, 2007 SHOOT 13 iWork Jeep, Organic and Marvel Tap Comic Buffs To Develop Adventure Story For New SUV New Microsite Gives Consumers Chance To Create and Receive Comic Book

By Nicole Rivard What does the new Jeep Patriot have in common with Hulk, Spiderman and X-Men? Jeep’s newest compact SUV is going to have its own adventure with the help of Marvel Comics. Taking a new spin on the user-generated content trend, the auto maker recently partnered with Marvel to create the microsite PatriotAdventure.com where comic buffs can go online to help construct the plot of a story that highlights aspects of the Patriot and then be in line to receive a limited edition printed copy of the comic book. The goal of the site, developed by bicoastal Organic, is to create awareness of the brand amongst youthful customers who may have always wanted a Jeep vehicle, but until now, may not have been able to afford one. “When we started thinking about how we get to this group of people, the idea of comic books came up,” explained Adam Wilson, creative director at Or- ganic. “What about this group of people? Who is looking at comic books these days.? And I was shocked when I saw the numbers of people who look at comic #,)#+(%2%4/6)%70!'% books and how mainstream graphic novels are.” The project turned out to be serendipitous. Unbeknownst to the Organic The adventure begins on the microsite’s homepage . team, its sister company in the Omnicom Group, PHD, which does all the me- dia buying for Daimler Chrysler, was talking to Marvel at the same time and it are done creating it,” Wilson said. “And the people who win will get listed “just all sort of came together,” according to Wilson. as an author. That’s a pretty cool thing, if your submission wins you have this Visitors to the site will find the first five pages of the 20-page comic book, “The comic book on your coffee table with you listed as an author and two very cool Patriot Factor,” created by Marvel artist Bing Cansino. He established the charac- American brands—Marvel and Jeep—right there on the front page.” ters and the storyline to get things going and he will then draw from ideas submit- What’s also cool about the site is because it is crowd sourced, little communi- ted by fans. Two pages at a time are open for submissions and then on the following ties can form. “I can go in and comment on someone’s submission and actu- page users are told where the story needs to end. For instance, Wilson points out ally approve upon it if I choose,” Wilson explained. “And if they like the way that page six and seven were open for submissions and page eight features a couple I improve it, they can comment back and say, ‘Hey, that’s what we should go of frames where the character opens a briefcase and the phone rings. “They have with.’ So when Marvel sits down to choose a winning submission, we look at the context. We didn’t want to leave it completely open ended,” he said. “We al- comment threads as well and how the idea evolved.” ready picked a winner for page six and seven. The winners were He said the microsite is being promoted on sites like MySpace.com/jeep , Client: Jeep Agency: Organic, bi- really good at threading the needle from page five to eight.” Marvel.com, CollegeHumor.com and third party automotive sites including coastal Sam Cannon, group creative autos.msn.com. The campaign was also promoted at the Chicago Auto Show director; Adam Wilson, creative direc- A new level of UGC and at Comic Con. tor, Jeep brand; Jeff Bergmann, senior The day after Marvel and Jeep choose a submission as a win- PatriotAdventure.com is a pre-launch campaign for Jeep. On March 15, Or- art director; Dwayne Raupp, experi- ence designer; Jeff Bossardet, senior ner, rough pencil drawings are posted by Cansino, followed by ganic’s sister agency BBDO will unleash a whole arsenal of TV commercials designer; Brian Groves, copywriter; tighter pencils and ink versions and on the fourth day the ac- along with a whole new web creative designed by Organic. Zander Waldman, web application tual color page is done. A new page opens as soon as a winner is Wilson said Organic’s engineering department deserves a standing ovation. developer; Dan Gustafson, web appli- picked on the previous page. Those who sign up and contribute “They basically built this full blown 2.0 application from scratch. Not only did cation developer; Peter Galio, direc- to the comic book will receive a limited edition printed copy. they build this beautiful fluid full-blown Web 2.0 application, but they also built tor, engagement management, Jeep “This is user-generated content 3.0 in my opinion. To give a whole back-end publishing system where we can quickly go in and look at brand; Leslee Freimuth, engagement credits manager, Jeep Brand people the tools or the assets and the context to create some- submissions, approve them or disapprove them. And Marvel can go in and up- thing online is one thing. But one of the things that set this load its pencils in a timely manner. There is this whole back-end engine to this thing apart is this is a tangible thing people will get when they thing that is quite amazing.”

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14 SHOOT March 9, 2007 DIRECT EW OR N SS Call For Entries T H O O YOUR NAME O W H HERE

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• 2 • 0 T 0 N 7 5 VE NewNew th ANNUAL E DirectorsDirectors WantedWanted SHOOT’sSHOOT’s 2007 2007 5th 5th Annual Annual NewNew Directors Directors Search Search Is Is On! On! New Directors receive enormous Do You Have career-making exposure! What It Takes To What Work is “Being included in the 2006 show- Eligible to Enter? Be The Next Hot case was a fantastic entrée into the ad business. If you can’t get past building Category 1 New Director? security at the major ad agencies, Traditional broadcast television spots, then the best way to rub shoulders spec work, cinema, branded content SHOOT is conducting a worldwide and exchange ideas with creatives search to discover the best up- Category 2 and agency produc- Alternative media content and-coming directors who, based webisodes, spots created for online ers is SHOOT’s New on their initial work, show promise The fi nal reel will be screened for an audi- use, mobile-phone content, in-game ence of key advertising agency and produc- Directors Showcase.” advertising, advergaming, virals, to soon make major positive con- tion industry decision-makers at SHOOT’s Zack & J.C. alternate reality gaming, ads created tributions to advertising and/or 2007 New Directors Showcase Event at the SHOOT 2006 New Directors for PDAs DGA Theatre in New York City on May 23. @radical.media entertainment in its traditional Category 3 and emerging forms. This global See the directors’ work that was Other search is conducted by SHOOT’s music videos, short fi lms, feature fi lms After the best work is chosen chosen for last years showcase editorial staff with input from ad- SHOOT will compile the 2007 event on SHOOT’s 2006 New Direc- For the 5th Annual Showcase, vertising agency creative directors SHOOT New Directors Showcase tors Web Reel at www. shootonline. Directors can submit work that was & heads of production, as well as completed in the last 16 months. Reel and interview the directors com/go/showcase. The directors (January 2006-April 2007) (excerpts production company heads and for a special feature that will ap- selected for the Showcase come from shorts, and excerpts from long- established directors. The search form fi lm or other entertainment fare pear in SHOOT’s May 11th issue, from diverse backgrounds. Some should be NO MORE than 5 minutes will be conducted between Janu- pdf version, HTML e.dition, and first established themselves on the in length) Must be directing com- ary 26th and April 13th 2007. mercials less than two years & must be on SHOOTonline.com, bringing agency side of the business, while available to direct commercials. worldwide attention to the work others were DPs, feature filmmak- and the directors. In addition, the ers or film students. One bond the Entry Deadline work will be screened for an audi- directors share is great style and April 13, 2007 ence of key advertising agency vision, whether it be reflected in and production industry deci- comedy, visuals or storytelling. Entry Fee sion-makers at SHOOT’s 2007 New $75.00 Directors Showcase Event at the ENTER SHOOT’S NEW DIRECTOR For additional entry information DGA Theatre in New York City on [email protected] SEARCH NOW... It could be a big or by telephone at May 23. Coverage of that event step towards being noticed by 323/960-8035, ext 6681 will appear in SHOOT in June and the companies that can represent Over 20 Showcase Finalists receive the showcase reel will be posted you and the agency creatives and FOR SPONSORSHIP INFO priceless career-building exposure plus email [email protected] a gala evening event in front of a packed on SHOOT’s website. producers that can hire you. or by phone at 203-227-1699, ext.13 house at the DGA Theatre in New York City. Entry Forms at WWW.SHOOTONLINE.COM/GO/SEARCH ©2007 DCA Business Media LLC. All Rights Reserved. The lights are on brighter than ever.

MOVING IMAGES Welcomes Eli Friedman & Eric Alvarado

Color Micah Kirz Dino Regas Eli Friedman Eric Alvarado

Edit Joe Zito Ted Pishko

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Contact Chris Fiordalisi or Steve Bodner 227 East 45th Street 6th Fl NYC 212-953-6999 mipost.com Color Correct Editorial VFX Finishing EDITING & POST

Finding A Def Ear

With nearly 30 years as an editor—and the last eight months as the executive director of the Association of Independent Creative Editors (AICE)—under his belt, Burke Moody reflects on his latter capacity as the organization heads into a time of industry change for which it hopes AICE’s HD to help navigate a proper course. Nowhere is this more evident than in the transition to high definition television as the AICE has embarked on an ambitious HD Initiative for advertisers, clients and the production community at large. Initiative “Everyone is starting to feel the pinch of living with one foot in the standard definition 4:3 world and one in the 16:9 HD world,” relates Moody. “While eventually the ‘common practice’ will be an HD master 16:9 with 5.1 surround sound, how long it will take to get there remains to be seen. So in the meantime the industry has to deal with what to do.” Reaches Out Last September, the AICE was on hand for an Association of National Advertisers (ANA) Production Management Committee meeting in New York. Out of that sprung the idea for the AICE to help educate the industry about options in the SD/HD mix. The HD initiative—born out of the AICE partnering with Kodak (film is an HD medium)—has both individual and collective components. To Agencies, On the former front, the AICE and Kodak have made HD presentations to the following individual agencies thus far: DraftFCB, New York, Euro RSCG, New York, and The Richards Group, Dallas. Plans call for more such sessions to take place this year with additional ad shops. Vari- Wous AICE members have participated in the sessions, including Moody, Chris Franklin from Big Sky Editorial, New York, Craig Gordon from Clients rhinoedit, New York, and Ken Skaggs and Erik Johnson of Frames, Dallas. “We’ve fielded agency questions regarding their concerns,” says Moody, “with the most obvious being format—4:3 or 16:9? ‘What happens if you have to provide both?’ Another recurring story was, ‘We were told we only had to provide a SD spot and now they want to By Robert Goldrich run it in HD.’ Overall it’s been a productive dialogue.” Meanwhile for the industry at large the AICE is working on some practical guidelines to help advertisers, agency creatives and producers and post companies to deal with what can be a confusing HD/SD landscape. While he acknowledges that the timetable might be a bit optimistic, Moody hopes to have a preliminary yet detailed draft of these guidelines completed by the end of the year’s first quarter. “It’s almost universally agreed among our members that you have to start at the end to determine your pathway,” observes Moody. “You have to know what you want to end up with in order to decide what the process toward that end should be. At the Continued on page 18

March 9, 2007 SHOOT 17 EDITING & POST

AICE Looks To Promote Industry Dialogue Continued from page 17 Cagliero said that a follow-up town meeting is slated for April. “We plan same time, we’re still not sure what form our first draft will take—guidelines, on having two or three more sessions like this in 2007,” notes Cagliero, “be- best practices, procedures. This won’t be a document that discusses the differ- cause the more we talk to each other, identify and address issues—and find ence between interlace and progressive in painstaking detail. Instead it will be common ground as we come up hopefully with solutions—the stronger the in the spirit of what an agency producer needs to know. What do stations and AICE is as a group.” networks require? How do you get there?” AICE Awards “It’s essential to open lines of communication with Another prominent item on the AICE agenda is its sixth annual awards all industry sectors...Having open dialogue with a competition. Designed to gain recognition for the contributions of editors to commercialmaking, the AICE Awards have become firmly established. In fact cooperative spirit can only lead to good things. The entries are up nearly 13 percent over last year. more discussion there is, the more equitable and This time around, the AICE Awards ceremony returns to Chicago on May 17. efficient our business can be.” —Burke Moody The competition spans 10 prime categories: Comedy; Dialogue; Montage; Music/Sound; Local Spot; National Campaign; Public Service; Spec Spot; Sto- Dialogue rytelling; and Visual Effects. Perhaps most important to Moody is the means that helped bring the HD Additionally, for the second consecutive year the AICE competition will en- Initiative to fruition, namely the AICE’s aforementioned involvement with the compass awards for the best work from each AICE chapter (Boston, Chicago, ANA, which was followed up in October by AICE having a presence at the Dallas, Detroit, Los Angeles, Minneapolis, New York, San Francisco and To- ANA Annual Conference in Orlando, Fla. ronto). The Best of Chapter honors help gain recognition for worthwhile com- “It’s essential to open lines of communication with all industry sectors and mercials that might otherwise slip below the radar. all the trade associations in this business,” affirms Moody. “Making advertising “It allows for example the talent in Dallas to compete among themselves that goes out to cinema, TV, the web or wherever is a teamwork enterprise. And and be judged by another [AICE] chapter,” explains Moody. “We want to having open dialogue with a cooperative spirit can only lead to good things. The extend the competition’s reach well beyond the big-ticket spots that gain more discussion there is, the more equitable and efficient our business can be.” national notoriety.” Moody notes that the HD guidelines in development also represent an oppor- A new wrinkle in the AICE Awards this year is a revamped judging proce- tunity for AICE to dovetail with members of the American Association of Ad- dure, which entails 20 judging panels spanning all nine AICE chapters. The vertising Agencies (AAAA), providing them with relevant information. Moody panels consist of a mix of editors, agency creatives and production people. adds that the AICE has enjoyed a longstanding positive relationship with the Each category will be judged by two panels and the results of their assess- Association of Independent Commercial Producers (AICP). ments will determine the top three finalists in each category and ultimately the Also part of the AICE’s DNA is promoting dialogue within its ranks, a prime highest scoring entry will be the winner. A winner and two runners-up will be case in point being a New York chap- ter town meeting in October which “Cage Match got editors to step out of that [work- drew upwards of 70 attendees, in- ing in isolation] shell a bit. But more importantly, cluding edit house owners, managing directors and executive producers as it created a closeness and more camaraderie within well as chapter board members. the community.” —Tom Duff “We divided the turnout into individual groups of seven or eight people, with a board member present announced in each category. in each group,” relates AICE’s New York chapter president Bob Cagliero, In years past the first stage of judging had AICE member editors having the executive producer of 89 Editorial. “These company owners and executive opportunity to vote. They would pare a large field of entries down to 10 finalists producers were asked to identify the two most important issues their busi- per category. The finalists were then judged by a blue ribbon panel. nesses were currently facing. The dialogue was extremely productive in that “With more than 600 editors in our chapters, the first part of the old judging it engaged and empowered our members as they voiced their concerns to a process was quite cumbersome and expensive,” says Moody. chapter board member. “We also didn’t have the benefit of other points of view—from the agency “Out of this,” continues Cagliero, “came 10 issues for all of us to discuss, rang- and production communities. We think the new judging procedures offer a ing from how late payment causes strife, particularly for small editorial compa- more well rounded, better snapshot of the value of the editorial contributions nies, to the issue of [agency] in-house editing.” in the marketplace.” Continued on page 20

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on iSPOT to reach the Steve Caplan Refl ects On His Eventful AICP Tenure Setting Up decision-makers of Having joined AICP in 1998 and helping it to attain numerous goals, Camp At including breakthrough spot filming Determining Riney, S.F. the broadband video incentive programs in New York and Los Angeles, executive VP Caplan By Robert Goldrich Every Wednesday is moving on to become a partner in SAN FRANCISCO—With about a advertising market. GMMB, an ad agency and media firm month-plus under his belt in the newly that focuses on major social issues as created position of chief creative officer well as political campaigns. What’s at Publicis & Hal Riney, San Francisco www.shootonline.com/go/ispot See page 4 (SHOOT, 1/29), Roger Camp—whose creative pedigree includes the lauded Beast In The East, West & Brawny Academy online reality series Invest In Your Future Now The Lone Star State during his tenure at Fallon, Minneapo- } Managing partner/executive produc- lis—reflected on the opportunities and Next Growth. er Valerie Petrusson’s shop signs not- N C ti M d l F challenges at his new roost and in the Get low rates, high If so, SHOOT may stop coming soon, share of mind, in 2007! you need to update TODAY. Go to WWW.SHOOTONLINE.COM/GO/RENEW

18 SHOOT March 9, 2007

EDITING & POST

What’s In Store For Editing And Compositing At NAB Confab?

Continued from page 1 But not everyone believes this will Inferno, Flame and Flint users can latest multi-core workstations from of “bands” that works as a plug-in; and As for purchasing decisions, it be the show where a major announce- expect to see a new 3D tracker, Quick- Apple. Maya 8.5 equips digital artists Abaltat Beat, which allows the editor seems that integration is what post ment is made. “It would surprise me time import/export on Linux, and lens with innovative new technologies to cut pictures first and then find a companies want. if they turned something around that distort and undistort. Fire and Smoke such as Maya Nucleus, a unified simu- best-fit beats-per-minute (BPM) by an- For instance, Ben Grossman, cre- quickly that integrates with Final would include a new 3D environment lation framework, as well as greater alyzing the Edit Decision List (EDL). ative director at Santa Monica-based Cut,” said Grossman. “I would say and Quicktime import/export. productivity.” Universal applications •At press time, eyeon Software— The Syndicate, reported, “We as a they may upgrade Motion, but I’d be The migration from SGI to a Linux- are designed for Intel- and PowerPC- also considered one to watch in the company tend to do more under one surprised if they are already going to based platform will also be a big topic based Mac computers, efficiently run- compositing space—had only revealed roof. We are looking for what is new be delivering their Shake replace- for Autodesk, which plans to address ning on both architectures. that it would release Fusion 5.1 Learn- that integrates all tools more efficiently ment. It’s just too soon.” upgrade paths and the like. Autodesk will also show its new 3ds ing Edition. To make development together.” He affirmed that this means “I think Adobe will have something Customers generally applauded the Max 9 Extension: Productivity Booster, and testing of plug-in tools for Fusion that he would choose integration over interesting,” said Fred Ruckel, creative company’s decision to switch from SGI which the company reported includes easier and consistent, eyeon also an- a best-in-class tool. “The whole is director at New York-based Stitch, hardware, yet some also see Autodesk more than 35 productivity enhance- nounced an up-to-date developer ver- greater than the sum of its parts.” noting that Adobe has been working as vulnerable. Some customers are re- ments in areas including modeling, sion of Fusion. The companies most frequently ref- on the integration of its applications, porting bugs in the new Linux-based texturing, rendering, programming, • Highlights from The Foundry will erenced in this space were the 4A’s— including After Effects and Premiere. software, while some find fault with animation and biped. With 3ds Max 9 include Furnace 4 for Shake, and the that is Avid, Apple, Adobe and Au- “The only thing After Effects is lack- the expense of the change, particular- Extension: Productivity Booster, 3ds launch of Tinderbox for Combustion. todesk. At press time, only Autodesk ing right now is a good graphical inter- ly at a time when desktop software is Max 9 software is officially compatible Furnace is a popular suite of more made announcements about its NAB face similar to Flame,” Ruckel said. “If becoming more powerful. Meanwhile, with Microsoft Windows Vista 32-bit than 30 image-processing tools, many news, but the silence among the oth- they could do that, what would hold the large majority of Autodesk’s cus- and 64-bit operating systems, and Mi- of which automate time-consuming ers didn’t stop speculation. me back?” tomer base still works on SGI. crosoft DirectX 10 platform. processes in the creation of digital “Apple is sneaking up on everybody The general interest in integra- As a result, some interviewed by visual effects. The development team with Final Cut. It now has a user base tion may be good news for Autodesk, SHOOT said they intend to visit Au- Show debut responsible for Furnace was recently of young people with a highly com- which reported that connectivity, in- todesk, but also take a fresh look at the As in past years, there may be some honored with a Scientific and Engi- petitive product; everyone needs to teroperability and workflow would be whole compositing landscape. “The surprises at the show. For instance, neering Award from the Academy of watch out,” observed Richard Green- big themes for the company this year. new Linux [systems] are not as solid Abaltat, a young company from Gal- Motion Picture Arts and Sciences. berg, executive VP of The Post Group Autodesk is planning to exhibit the as the older machines,” Ruckel said way, Ireland, is scheduled to debut • Facilis Technology plans to dem- family of companies, Hollywood. “It’s latest versions of their lines of editing, of the Autodesk tools. “We all want to its new Abaltat Muse, a clever video- onstrate enhancements to its Ter- cost effective, and they’ve been able to compositing, color grading and anima- stand on something solid. Reliability is driven soundtrack composer that re- raBlock storage network, including bundle in a lot of features.” tion software. The booth will feature everything.” ceived significant attention when it support for Linux, enhanced “Virtual He added that for all in the space, workflow demos in the main theater, On the 3D side, expect emphasis on was previewed last fall at IBC. Volume” features and improvements openness is paramount. “If you can’t as will a user group that will include Autodesk’s recently launched Maya Abaltat Muse is designed specifical- to the TerraBlock Manager user inter- work in an open file format, then you the likes of Smoke, Flame and Lustre. 8.5, which is available for Intel-based ly for video editors, using a combina- face. The system is designed for post end up eliminating the growing part of Master classes on Flame and Smoke Macintosh computers. Autodesk said tion of picture windows, timelines and applications. the market,” he related. are also scheduled. the software enables faster completion keyframes to compose music. The • And Xytech Systems will demon- One of the loudest rumors leading Autodesk declined comment when of complex animation and simulation tool essentially uses artificial intelli- strate file-based media capabilities for up to the show was that Apple may asked about the heavily rumored de- tasks, giving artists enhanced creative gence by measuring different selected Version 10 of its flagship Xytech En- show a new version of Final Cut Pro velopment of a software-only version control on multiple platforms. “Our elements in a moving picture, and terprise software. These new capabili- that integrates compositing tools. of Flame. goal is to give digital artists choice writes the music to the picture. The ties enable the software to maintain Coupled with the company’s an- Instead, the company emphasized and flexibility in their 3D tools and system composes the music and plays metadata on both physical and digital nouncement last year that it was dis- new features for other products. platforms,” said Marc Petit, VP of out using a MIDI sampler and virtual media assets, as well as support the continuing development of Shake and Toxik, for instance, would include Autodesk’s media and entertainment instruments. It can be purchased as a marriage with digital asset workflows working on a next generation system, motion estimated regrain, motion unit. “Autodesk Maya 8.5 is our first download from the Abaltat website. in a unified manner and allow for the Apple seems to be on everyone’s list of estimated retimer, blurs, video work- Universal application of Maya. This To accompany Muse, its developer integration with leading digital asset NAB stops. flow and interoperability with Maya. multi-threaded software leverages the will also exhibit Abaltat Band, a suite management vendors. Mentoring Talent, Promoting Camaraderie High On AICE Agenda

Continued from page 18 tors in metropolitan Boston,” relates audience. “Outside of New York, Chi- boisterous industry crowd. Moody, “but the companies there like cago is the biggest agency market in The work was displayed on large Trailer Park the idea of Trailer Park and what it the United States,” says Duff. “A lot monitors, with the crowd voting on The Trailer Park competitions be- can do for the advertising industry at of agency clients figure to turn out the winner. The wrestling match in- ing held by various AICE chapters large, helping to discover and bring for the AICE Awards in addition to fluence permeated the event, which have also gained momentum. “It’s an attention to new talent.” Hence last the core editorial community. Three was the brainchild of Chicago edi- opportunity to showcase the editing year the Boston chapter decided to years ago when the event was first tors Sean Berringer of Red Car, Craig talents of assistant editors [from AICE ask film students at colleges and uni- held in Chicago, that was the case. Lewandowski of Optimus and Steve member companies] across the coun- versities in Boston to participate in We had about 700 people come to the Stein of Cutters. try,” notes Moody. “The competitions the competition, which usually entails show and we expect about the same Last year’s Cage Match drew some have become a popular phenomenon cutting a feature trailer against genre this time.” 300 attendees, including agency arti- among our members and with the (i.e., making a comedy trailer for a Duff adds that another AICE event sans. “It was a way for editors to get public. For the last two years this drama or musical). Bob Cagliero is in the offing for the Windy City—this to know each other and have a fun work has been shown during Adver- “Each editorial company will spon- outreach to students in the area.” one from the Chicago chapter. It’s the time,” relates Duff. tising Week in New York.” sor a couple of students who will cut second annual Cage Match in which “Usually the editor is ‘lonely,’ not The San Francisco chapter is slated their work while being tutored and Chicago teams of editors are held captive on a used to working as part of an editing to hold its first Trailer Park competi- mentored through the Trailer Park AICE VP Tom Duff, president of stage and asked to cut a spot on rela- team. Cage Match got editors to step tion this year. And for the second con- process by professionals at that com- Optimus, Chicago and Santa Monica, tively short order from some 20 min- out of that shell a bit. secutive year, AICE’s Boston chapter pany. That approach was a resound- notes the return of the AICE Awards utes of selects. In last year’s inaugural “But more importantly, it created is taking a novel approach. ing success last year and Boston is gala to Chicago this year bodes well in Cage Match, five teams consisting of a closeness and more camaraderie “There aren’t a lot of assistant edi- doing it again now. It’s a wonderful terms of attracting a diverse industry three editors each competed before a within the community.” 20 SHOOT March 9, 2007

BORDER WATCH Lasting Impressions

Argentina And Brazil Keep Production Execs Coming Back For More

By Nicole Rivard Recently Storm Films, London, and Garage Films, Barcelona, talent buyout and favorable exchange benefits offered by the city. called upon Utopia Films, Rio de Janeiro, to collaborate on worldwide cam- Nicolaides says Radke Film Group, Toronto, has been producing a lot in Ar- paigns for Emirates Airlines and Banco Santander. Both projects required sev- gentina. Recent work includes a big job for Capital One, directed by Jeff Gorman eral countries but neither client had the budget to travel to a variety of places. of bicoastal Sandwick Films. “We had to build seven sets in a very short period of So they used the varied landscapes and multi-ethnic talent of Brazil to replicate time. When they first came onto the stage, they couldn’t believe it. They all said the various countries, according to Justin Bird, executive producer at Utopia, that the sets were like the best ones in North America,” says Nicolaides. who points out they also took advantage of the small crews, natural light, street casting and documentary-style filmmaking that is so popular at the moment. Brazilian Boom It’s no surprise that the diversity of As more people are being exposed to the high standards of the production locations in countries like Brazil and industry in Brazil, more projects that do not stick to the typical Brazilian label Argentina continues to drive people of beach, palm trees and Carnival are coming in. to bring their commercial produc- “Due to the high standards of production companies in Brazil, they have cre- tions to Latin America. Plus as Harry ated a pool of highly trained professionals that allow for a wide range of produc- Tracosas, owner of Los Angeles-based tions to be shot here,” says Hank Levine, executive producer of o2 Filmes, Rio production services company Global de Janeiro/ Sao Paulo. Production Network, puts it, they’re “o2 Filmes is a reference of this standard and has been bringing in projects getting “more bang for their buck.” that were to be shot in the snow, the streets of New York, futuristic settings, The Argentine Peso is currently 3:1 timeless sets, the villages of Cuba and studio work, just to mention a few.” with the USD and the Brazilian Real He says the Brazilian boom has had its effect on the local market and nowa- is roughly 2.4:1, he explains. days rental houses and labs are up-to-date with the latest technology and equip- But in addition to the obvious rea- ment. Larger production service companies have also gathered professionals sons for shooting in Brazil and Argenti- who are perfectly trained and have comparable skills to any foreign operator. na, what’s beginning to equally impress Since last year, o2 Filmes has been approached to develop a couple of proj- the industry are the high standards of ects for branded marketing. They have been in the form of documentaries, usu- Top photo: Breathtaking San Carlos de Bari- commercial production that have developed in those countries and the pool of tal- ally with subtle reminders of the brand “sponsoring” the project. They include loche in Argentina’s Patagonia. Inset: An iconic ented actors, directors, DPs creatives and crews that has grown as a result. “Ginga – The Soul of Brazilian Football,” which focuses on the beauty and play- locale, Sugar Loaf Mountain, Rio de Janeiro. “Both Brazil and Argentina have become very sophisticated markets. The ability of Brazilian soccer and has been sponsored by Nike. Similar branded equipment, the crews, they are just as experienced as anywhere else in the marketing content has been for the Brazilian beer Brahma and for the Brazilian world,” says Karen Watts, owner of Shoot Latin America, a liaison between liquor brand Sagatiba. “This is a new approach to traditional productions usu- Latin American production services companies and international producers. ally made for the foreign market and to be shown at very specific media/places “U.S. companies that come the first time for budget or location reasons only such as airplanes, airports and events,” Levine says. come back to Argentina again and again. They are always very impressed,” adds He also highlights a recent $2 million dollar project for Nike China. For this Georgos Nicolaides, executive producer of Benito Cine in Argentina. “They say project, Nike and Wieden + Kennedy chose to work with the o2 Filmes crew in the rental house in Buenos Aires looks like NASA, it’s very organized and has China. “Although this project was not done in Brazil, it represents the trust that more than 58 cameras. We are actually producing the 2007 campaign for Cot- foreign companies already have on local production companies,” says Levine. ton Inc. USA. They came last year and they are all coming back: director Pam “Often, production companies have combined reasons to shoot in Brazil and Thomas, Moxie Pictures, DDB New York and Cotton Inc.” lately the top reasons are: location, cost, talent, state-of-the-art technology and Recently he produced the new Flomax campaign for Grey Worldwide. Di- highly trained professionals that can compete with international standards. The rected by Stan Schofield of Schofield Films, New York, the spot demanded dra- creativity and capabilities known to Brazilian advertising are an extension of matic landscapes, which were found in Salta. “They knew that was here before the great work of our directors, which have become a decisive factor on why coming; the good surprise for them was the talent freshness. Since its founda- projects are brought here.” tion, Buenos Aires has been a city full of theaters and acting schools. They are Argentinian directors are also making an excellent name for themselves. good actors, and directors appreciate how spontaneous they are.” Watts points out that they are attracting more attention at festivals, particularly Film Planet, with offices in Sao Paulo, Los Angeles, Buenos Aires and at Cannes. “And with that recognition, agencies are going straight to the produc- Rio de Janeiro, works with a casting director from Brazil in its U.S. office. tion company and the director and shooting the spot,” Watts says. “Their familiarity with the variety of casting options helps our clients to Grey New York tapped Charlie Mainardi of Buenes Aires-based pro- recognize the advantages of working in South America,” says Karin Stuck- duction company Huinca Cine last year for two Procter & Gamble spots. enschmidt, international executive producer. She says her Buenos Aires “They chose our director after evaluating his reel and his treatment on the office has been busy non stop this season as clients recognize the location, boards. The spots were shot on a set in Buenos Aires for three days,” says

22 SHOOT March 9, 2007 BORDER WATCH

Mariana Biquard, executive producer at Huinca Cine. duction services company headquartered in Florianópolis with offices in São In addition to giving kudos to Argentinian directors, Massimo Martinotti Paulo and Rio de Janeiro. of Mia Films, a production company based in Florida with offices in Mexico, “Last year the Association of Brazilian Film Commissions (ABRAFIC) was Costa Rica and Buenos Aires, notes the level of creativity at local agencies as formed to create a network of film commissions throughout the country. well. “The Argentinian creativity is very much humor oriented. There is a lot ABRAFIC, headquartered in Brasilia, also has as its mandate to make Brazil of comedy—very sarcastic comedy. Agencies in Buenos Aires are very brave in more competitive by reducing taxes on the importation of equipment, making that sense,” Martinotti says. He cites the spots Mia Films director Chanel shot temporary importation of this equipment easier and lobbying for tax credits for producers who want to come and “The market’s opening brought mind opening as work in Brazil.” well. In our country, today you may fi nd a lot of tal- Besides getting more support from the government, he believes that ent and also a solid level of production with production services companies like international standards.”—Pablo Gil his that work seriously to understand the different ways clients handle the for Repsol YPF out of Young & Rubicam and for BGH appliances out of Del production process in their own countries is also key to Brazil’s commercial Campo Nazca Saatchi & Saatchi production success. USA is totally different from Europe for example. And the Pablo Gil, executive creative director of Grey Argentina, says that Argentina U.K. is totally different from Italy. All of them have their own characteristics of becoming a “movie set for the world” over the last few years has really nour- work,” he says. ished local advertising. Likewise, Barbara Factorovich, executive producer of Palermo Films, says her “The market’s opening brought mind opening as well. In our country, today company tries to be her clients’ home away from home. “We are definitely doing you may find a lot of talent and also a solid level of production with international things correctly, because some of our usual clients are sometimes coming all the standards. From that development local advertising has evolved both in the ideas way to Buenos Aires for shooting one day on stage.” She said most of her busi- and in the production. Each time there are better, interesting and bigger ideas that ness is coming from the United States and the U.K. for the consumer are more like little stories than TV commercials,” says Gil. Since Tracosas began handling U.S. representation for Ocean Films, the An example is a recent spot the agency did for Magistral Dishwash, which number of productions coming from the stateside market has increased dra- was directed by Sebastian Valinio of Palermo Films, Buenos Aires. matically, to the point that today it is the company’s largest source of business. The spot follows people in different locations partaking in daily activities, The second largest is England, followed by Germany and Argentina. showering, brushing their teeth, eating a bag of chips, etc.—but they are us- In February Ocean Films completed two commercials. The first was a Brah- ing products that are supersized. The bar of soap, toothpaste and potato chips ma beer commercial for Anonymous Content and McGarry Bowen, directed are almost as big as the people themselves. At the end of the spot, viewers see by Argentine Armando Bo. The second was for Dow Chemical and DraftFCB a checkout line at a grocery store where an oversized carton of milk is rung Chicago directed by Ian Mackenzie. up followed by a normal size bottle of Magistral. The words, “Longer lasting “We were responsible for all of the South American locations, including the doesn’t mean larger sizing,” appear on the screen. Amazon, Bahia and the Atacama desert in Chile. On the boards for March, we “Our objective is to increase the creativity level in the home care category have just signed on with the British production company Stink for a project and this execution shows a fresh idea with a very interesting production level. with the Publicis Paris agency to be directed by Psyop. We were able to solve We selected each location very carefully so the film as well as the vignettes all their location and studio needs in Rio de Janeiro,” Garcia says. would feel large and important,” says Gil. “In addition, manufacturing the in- He feels that producers, creatives and directors have a better idea today of scale ‘products’ was a difficult task, one that took special effects and production what Brazil has to offer than they did just a few years ago. Many projects, he specialists over a month to put together.” “We are at a moment in which Brazil is asserting Looking Ahead: Hot, Hot, Hot itself as an excellent option for international Watts says Shoot Latin America pays close attention particularly to what film commissions in Latin America are doing to boost Brazilian and Argentinian shoots. production.”—João Roni Garcia She says there is a big push to form more film commissions to work more closely with commercial production as these countries recognize that is where most of the business is coming from. says, are put together drawing from previous experiences in Brazil. It is now “We are at a moment in which Brazil is asserting itself as an excellent option common, for example, for directors to send treatments that already have refer- for international production. With the support of the Brazilian government, a ences to specific Brazilian locations, situations and looks. group of production, equipment and sound companies joined together in 2003 “Brazil and Argentina are hot and only going to get hotter,” says Watts, “Eu- to form Filmbrazil in order to promote Brazil as a commercial production des- ropeans have been going down there and working for years, but I think the tination,” explains João Roni Garcia, executive producer of Ocean Films, a pro- United States has just begun to tap the potential those two countries have.”

Representing top-tier Production Service Companies around the world Harry Tracosas 323.939.9639 Projects Include: Xbox / Romania, American Express / Mexico, Volvo / Sweden, Brahma Beer / Brazil, Mt. Dew / China, Tide / Uruguay, Xbox / Argentina, Exxon / Italy, Claritin / Iceland, CBS / [email protected] Czch Rep., Cheerios / Russia, Samsung / Croatia & Denmark, Visa / Chile, Old Spice / Portugal… www.globalproductionnetwork.com

March 9, 2007 SHOOT 23 News

Camp Refl ects On His New Chief Creative Post At Publicis & Riney

Continued from Page 1 Brawny reality show to fruition.” Silverstein & Partners, San Francisco, out, which changes the nature of our Brawny’s reality show. Earlier he was at rate groups together,” related Camp. Making Camp’s task easier is the where he was group creative director jobs. It’s like the Apple iPhone which Wieden +Kennedy overseeing its Coca- It’s akin, he said, to Brawny Acad- resident new-media talent at Publicis on such business as Adobe, Hewlett- is innovative, fascinating and people Cola business. His other credits include emy reaching out to Woodland Hills, & Riney, including Dominic Gold- Packard, Subway and the California are talking about it before it’s out. the launch of adidas and Cnet while at Calif.-based Feisty Flix and its hus- man, VP/creative director of interac- Milk Processor Board. Earlier he held You have products like this that will Leagas Delaney, San Francisco, as well band-and-wife team of John Rus- tive. During his nearly year-and-a-half several positions at Ogilvy & Mather’s sell out before they get a moment of as notable work for Cherry Coke, Little sell Feist and Hal Feist, reality show at the agency, Goldman has wrapped Singapore office, culminating in his advertising. Yet the work that agen- Caesars, Staples, Fox Sports and Out- producers/directors whose resume interactive fare for Penn & Teller, becoming creative director and head cies have done on business like Apple post.com while at Cliff Freeman and includes CBS’ Survivor, NBC’s The the American Automobile Associa- of the interactive group. and Mini has been great in branding Partners, New York. Restaurant and Meet Mr. Mom and tion and Peter Kim Jewelry, among “A big part of my role is making them as innovators. That helps these The Outpost.com fare came at the Fox’s The Casino and America’s Most others. At press time, a creatively sure that people like Dominic can brands to sell themselves.” height of the dot-com era, when a Wanted. “We tapped into their reality ambitious project he headed for the continue to do what they’ve been do- Key to delving deeply into a client’s significant percentage of advertisers show expertise to blend with our peo- American Red Cross in the Bay Area ing—and to open up new opportunities business, said Camp, is trust. “You need on the 2000 Super Bowl telecast were ple,” recalled Camp, “to form a super was about to debut. for them as well,” said Camp. to have clients that will let you sit at from the online community, to the group that brought the big idea of a Goldman came over from Goodby, Part and parcel of such new oppor- their table. You have to earn the right point where the Big Game was dubbed tunities is “getting deeper into our cli- to sit at the table, which is what we the Dot-com Bowl. “Back then it was ent’s business,” continued Camp. “It strive for.” like the wild, wild West creatively,” Caplan Ends AICP Tenure used to be a client comes to you and Camp has already brought business said Camp. “But things soon cooled expects a glossy ad campaign which to the agency table. In recent months off, the dot-com bubble burst and we Continued from Page 4 ment officials on issues of interest to would be their face to the outside he was consulting to Publicis & Riney kind of pulled ourselves in a little, we his relationships with legislators and the production community. He later world. But that model has started to and had a hand in successful pitches weren’t as daring and experimental... understanding of the body politic was elevated to national executive crumble now in a good way. You have for Altoids and Pinnacle Foods. He Now, though, that’s changed as new honed over a dozen years prior to his VP, working closely with AICP presi- to get to know a client much more got to work—and now continues to do media is a reality. We’re starting to see joining AICP proved valuable. That dent/CEO Matt Miller. And a couple deeply so that you can positively af- so—with the entire Riney team, includ- creativity reach out into all areas, with experience included his being politi- of years ago, Caplan’s role expanded fect their business and help them sep- ing executive creative director Jon people calling on all the resources at cal director and field director for the to include communications, dovetail- arate from their competitors...And in Soto. Prior to that, Camp was creative their disposal in order to try to break successful Philadelphia mayoral cam- ing with the efforts of VP/commu- today’s world of information, people director at Fallon where he devel- through creatively. It’s an exciting paign for Edward Rendell (who is now nications specialist Renee Paley who instantly know the point of difference oped acclaimed work for Holiday Inn time in the business and an exciting governor of Pennsylvania). Caplan retired from AICP last month after a before the advertising even comes in addition to his involvement with time to be at Riney.” then served under Rendell as assistant long relationship with the organiza- deputy mayor. tion. Caplan was very much involved Caplan’s political experience in in internal communications, helping Beast Expands On Both Coasts, Texas Philly followed his work in Southern to impart info to membership on as- California as a deputy campaign man- sorted AICP initiatives spanning such Continued from Page 4 Calif. Editors Kelly and Norling split ager in the state attorney general’s race areas as labor, business affairs and gov- such clients as Reebok, Coca-Cola, an E*Trade package for the Super in ‘90. He also was involved in the en- ernment relations. the National Football League, the Bowl directed by Paul Middleditch tertainment industry, working at a PR At press time, Miller had begun National Basketball Association and of bicoastal HSI Productions and Syd- firm that handled such clients as the the search for successors to Caplan Heineken Light. ney-based Plaza Films for BBDO New Directors Guild of America. Caplan’s (in the political affairs arena) and Pal- The aforementioned Watzke will York. And on the heels of wrapping first professional political work was his ey while moving to expand the scope be based in Santa Monica along with a Range Rover package directed by involvement in the Iowa Caucuses for of the association’s staff. On the lat- Beast cutters Igor Kovalik, Paul Nor- Gerard de Thame of HSI for Young & presidential hopefuls Joe Biden and ter score, the AICP has hired Denise ling and Kevin Garcia. The latter Rubicam, Irvine, Calif., editor Kovalik Paul Simon. Gilmartin to serve as VP of business three have also been with Beast from took on a Reebok assignment directed Upon joining AICP, Caplan moved affairs and nontraditional media (see the outset. by Katya Bankowsky via Story, Chi- quickly up the ladder, becoming se- this week’s lead story). Gilmartin is All the Beast editors are available Rob Watzke cago, for mcgarrybowen, New York. nior VP, external affairs, which en- based in the AICP’s Los Angeles of- to work in any of the company’s of- Full Tilt Poker campaign directed by Petrusson is based on the West tailed his establishing cooperative fice as is Jane Nunez who continues fices. Beast has gotten off to a fast Errol Morris of bicoastal Moxie Pic- Coast; her executive producer coun- dialogue with legislators and govern- as AICP’s manager of labor relations. start in 2007 with Schwartz editing a tures for WongDoody, Culver City, terpart in New York is JJ Wilmoth.

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24 SHOOT March 9, 2007 Editor Schwartz Breathes Life Into Happy Hearts Fund

Continued from Page 4 occasional odd format is cer- time to set up a proper set, it’s Since cutting spots is one end all be all. amazing benefactor. Each tainly a part of it. Essentially very improvised. But I find that of the most challenging forms “When something happens project introduces us to a new anyone with a free hand be- this creates a different vibe for of filmmaking, according to on film that is unexpected, it situation with a story of its comes the cameraman and as the film, very raw and sincere. Schwartz, he says his commer- is often the best and most real own structure and narrative,” a result sound and lighting are There are no actors so the mo- cial experience has certainly moment of the production,” Schwartz said. a crapshoot, he explained. ments are very gentle and helped him in every aspect of Schwartz said. “To recognize The broader scope has not Surprisingly, though, this never rehearsed. We may lose working on this documentary that—or to go as far as to base posed any challenges for has not taken anything away some of what they come back for Nemcova. a whole film on finding those Schwartz, but what has is the from the film. “The locations with due to technical issues “Unscripted dialogue is a unexpected moments—is the unpredictability of guerilla are exotic and remote with a lot with sound or lighting but not passion of mine, I was taught boldest and most gratifying production. The films come in of environmental sound and enough to compromise the ex- that the storyboard is a taking form of editing in both com- mostly on HDV DVDs but the unfortunately they don’t have perience,” he said. off point, not necessarily the mercials and documentaries.” CLASSIFIEDS To place classified ad simply email ad copy to: [email protected] Your reply will contain price estimate and PDF proof of ad for your review. Print classifieds run online as FREE bonus. For further info/rates/deadlines go to www.shootonline.com/go/classified AUCTION EMPLOYMENT

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March 9, 2007 SHOOT 25 News

Robin Benson has formally launched Company, a Los Angeles production house with a spot directorial roster that includes Philippe Andre, The Coen Brothers, Fred Goss, Sara Marandi, David McNally, Jeff Thomas and Harald Zwart. Benson and Richard Goldstein will be the company’s exec producers. Robert Nackman has been named head of production....Director Paul Riccio has come aboard The Sweet Shop, New York, which is headed by exec producer/partner Steven Shore....Washington Square Films, New York, has signed director/DP Carolina Zorrilla de San Martin, who’s wrapped her fi rst project for the production house, a Gardasil assignment via Prime Access, New York....Charlotte, N.C.-based ad agency BooneOakley has hired Craig Jelniker as head of broadcast production, a new position at the shop. Jelniker previously served as senior producer/VP at Element 79, Chicago....The Whitehouse, bicoastal, Chicago and London, has added Dan Maloney as a full fl edged editor in its New York shop. He had been freelancing as an assistant editor at the company and also freelance cut some work there as well, including a recent PSA for Air France and international children’s rights organization ECPAT through Euro BETC, Paris....

New York-based rep fi rm Blah Blah Blah, headed by Andy Arkin, has opened Whatever, an agenting division special- izing in interactive/advance/emerging media as well as content creation. The new venture will help introduce and mesh leading creative artisans with the marketers and agencies in need of such talent. Additionally, Whatever will tap into the talent pool of current Blah Blah Blah animation and design clients that have not yet made it onto the interactive/nontra- ditional project radar screens of agencies and marketers. Whatever opens with a roster that includes interactive content/technology fi rm Schematic, Aardman Animations, software shop 321 Blastoff , Renegade Animation and Tech Geist....The Whitehouse, bicoastal, Chicago and London, has secured Sean Sullivan of Sullivan Creative Management for Midwest representation....Santa Monica-based Rival Editorial has secured Jeanie DiMaggio as its West Coast rep..... Partos Company, Santa Monica, has signed DPs Marcelo Durst, Tico Poulakakis, Johnny Cliff , Doug Chamberlain and Andre Pienaar, CSC, as well as production designers Jan-Peter Flack, Matthew Holt, Kevin Bird and Ariana Nakata for worldwide representation.... DP Anghel Decca is now represented by United Talent Agency (UTA), Beverly Hills, for commercials, videos, fi lm and TV...

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26 SHOOT March 9, 2007

SOAR

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