www.shootonline.com

Kinka Usher Gets Stewart Hendler Dog Tired For The Helps Music Take Richards Group, Flight In Zune Bridgestone Spec Spot page 12 page 13

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION March 14, 2008 $6.00

Spot Lensing, Creative On Jake Scott The Rise In Latin America Creating New Worlds: Agency creative and filmmaking Directs An comes of age in Latin America. Pro- duction service company executive Ad Haiku producers assess the business climate Al Moseley Charts Course and prospects throughout the region. By Robert Goldrich Among the notable recent projects By Robert Goldrich LOS ANGELES—Director Jake Scott shot in Buenos Aires is Monster.com’s of bicoastal/international RSA Films “Legs” directed by MJZ’s Rupert LONDON—Al Moseley’s tenure has wrapped a 10-spot Columbia Sanders for BBDO New York. as executive creative director at Sportswear campaign that will unfold See page 19 Wieden + Kennedy (W+K), Am- in episodic style in the coming weeks. sterdam, was punctuated by the The launch :30 has already debuted Directors Land At Original smashing success of Coca-Cola’s with nine :15s in the offing at press time Commercialmaking Roost “Happiness Factory,” which not for agency Borders Perrin Norrander, Directors Simon West and Jim Manera only earned assorted accolades—in- Portland, Ore. come aboard Original Film along with cluding a 2007 primetime Emmy The tongue-in-cheek series opens executive producer Joseph Piccirillo. Award nomination, a Silver Lion at with Columbia chairperson Gert Accompanying the latter from Joe the Cannes Ad Fest and two AICP Boyle dumping off her son, company Blow Films are helmers Dick Buck- Show honors—but also went on to president Tim Boyle, in the Mojave ley, Anibal Suarez and the mono- spawn longer form web and special Desert. The nine :15s then follow Tim monikered Stanley. Piccirillo joins venue entertainment content. as he wanders through the desert try- the company’s management team as Then in October 2007 Moseley ing to find his way back to civilization. partner/executive producer. decided to exit W+K to become The campaign continues the premise See page 4 creative director and partner at of Gert subjecting Tim to extreme Marcello Serpa Visits one-year-old London agency Hur- weather conditions to product test Co- rell and Dawson. He formally came lumbia apparel, in this case its new line SHOOT’s Chat Room aboard that U.K. roost on January 15 of Omni-Shade warm weather sun-pro- Partner and general creative director and the shop’s moniker is now Hur- tective sportswear. at AlmapBBDO, Sao Paulo, Brazil, re- rell Moseley Dawson & Grimmer While there’s a survival reality genre- flects on the state of the Latin Ameri- (HMD&G). The first work Moseley like tinge to the series, Tim—decked out can creative market, the evolving role has contributed to at HMD&G is a in Omni-Shade garb—hardly seems in of a creative director, his significant three-spot television campaign for any real danger despite encountering a career accomplishments, and his re- Auto Trader which is slated to air vulture, furious sandstorms, a lizard or cently being named the recipient of in the U.K. and Ireland. One of the two, mirages and the oppressive heat Clio’s Lifetime Achievement Award, commercials, “New Car Finder,” and sun. In fact, the adventure plays a deserved yet curious honor consid- broke on Feb. 28, and Moseley ob- inside a Coke vending machine in- and populated by bouncy, chubby out like a good-humored comic strip ering he is at the ripe old age of 45. served that there are some parallels habited by interesting characters, little robots bearing TV screens for with Tim taking a casual pace through See page 10 to “Happiness Factory.” so too does “New Car Finder” open faces and heads full of visible ideas the desert. Just as “Happiness Factory” in- up a new world—except this one is about the perfect car. These charac- “I would best describe this project as troduced us to a charming world quite different, made up of car parts Continued on page 22 a haiku,” observed Scott. “Often in com- Edit & Post Series: Continued on page 8 Opening The Toolbox Artisans and execs talk technology, Directorial POV On Auto Trader For HDM&G, London look forward to NAB convention. See page 16 NEW YORK—While Auto Trader’s mation studio in Manhattan that is a tures, London. viewers more deeply involved with new European campaign represents sister shop to New York-based CGI/ Central to the Auto Trader cam- the brand. the first spot work that creative direc- VFX/animation house 1st Avenue paign—and the initial spot, “New Car Indeed a prime creative challenge tor/partner Al Moseley has contrib- Machine. Finder,” that debuted in the U.K. for SpecialGuest was to develop a uted to at U.K. agency Hurrell Mose- SpecialGuest, which specializes in and Ireland on Feb. 28—are bouncy, “family” of Auto Trader characters ley Dawson & Grimmer (HDM&G), a range of organic animation tech- chubby little robot characters whose and their habitat. The studio found which he joined in mid-January (see niques and styles, did the character personalities and the world they in- inspiration for the character design this week’s SHOOT lead story), the animation for Auto Trader, with CG habit offer creative prospects beyond in the broad, almost child-like style three commercials also mark the resources and support provided by broadcast as London shop HDM&G of Japanese animation. “The robots first major package to come out of 1st Avenue Machine. SpecialGuest plans on implementing a related en- have these massive heads but their SpecialGuest, a recently formed ani- is repped in Europe via Passion Pic- tertainment initiative online to get Continued on page 8

http://thefieldtv.com Perspectives

spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Go Format Yourself March 14, 2008 Volume 49 • Number 5 www.SHOOTonline.com Over the years glasses, it is mere coincidence that the continuation of HD DVD, “Toshiba products from that manufacturer in SHOOT has chron- thumbs down on HD DVD came not will continue to provide full product light of the fate of those customers EDITORIAL Publisher & Editorial Director icled the pending too long after significant revenue from support and after-sales services.” A who recently committed to the HD Roberta Griefer 203.227.1699 ext. 13 [email protected] transition to DTV on assorted fronts, player sales was generated during the toll-free number was posted that cus- DVD experience? exploring the applications and impli- holidays. To those who are a bit more tomers could call to get “answers to Old school thinking is that short- Editor Robert Goldrich cations for the advertising commu- jaded, the decision’s timing was calcu- general questions and operational as- term gain ultimately results in long- 323.960.8035 ext. 6681 [email protected] nity. With Feb. 2009 fast approach- lated to ensure that the Xmas season sistance for their HD DVD players.” term pain, meaning it’s short sighted iSPOT Senior Editor/Reporter ing, mainstream consumer press has would bring good tidings to Toshiba. With today’s raft of self-anointed for any company not to do right by Ken Liebeskind 203.227.1699 ext. 17 [email protected] started paying more attention to the Whatever your view, clearly those crusading reporters who are sup- its customers, at least for those whose Contributors transition, focusing on this Christine Champagne and related developments, The art of the pitch has become a bit more difficult as consumers are ADVERTISING particularly regarding HD. Sales Director, East/Midwest/Canada/Latin America understandably less trusting of marketers who are courting them. Robert Alvarado Both trade and consum- 203.227.1699 ext. 15 [email protected] er press, for example, have reported who recently invested in HD DVD posedly looking out for us, I’m hard players are barely out of the boxes Sales Director, West Coast/International on Toshiba’s decision to pull the plug deserve better. Days after Toshiba’s pressed to find any substantive cov- they came in. Meridith Riley 323.960-8035 ext. 6685 [email protected] on HD DVD, making Sony’s Blu-ray announcement, a visit to its website erage of this story from the stand- But new school is currently in ses- Advertising Production the format winner. Yet there’s an thelookandsoundofperfect.com didn’t point of consumers who have been sion. And new school’s sad lesson is Gerald Giannone advertising/marketing aspect that’s even offer a hint of restitution to con- left holding the bag. And from an ad that the general public seems to for- 203.227.1699 ext. 12 [email protected] largely been ignored. sumers who mistakenly cast their lot community perspective, the art of the get all too soon and many might be Classified 203.227.1699 ext. 12 [email protected] Toshiba’s decision came about two with HD DVD. However, a press re- pitch has become a bit more difficult just as willing to buy the next time months too late for those who bought lease was on the site with news of “re- in that many consumers—particularly around when the latest, greatest prod- SHOOTonline Directory Listings 203.227.1699. ext. 14 [email protected] HD DVD players as Christmas gifts for cord-breaking unit sales in the fourth HD DVD consumers—are understand- uct claims are made. OFFICES themselves or loved ones. An acquain- quarter of 2007.” ably less trusting of marketers who So the question becomes for agen- Main Offi ce tance of mine now views his player as Since then, the site has been up- are courting them. cies and their clients, are they old 21 Charles Street #203 Westport, CT 06880 USA a rather expensive paper weight. dated and a new release was posted And what about Toshiba? How school or new school? If the answer is 203.227.1699 Fax: 203.227.2787 To folks wearing rose-colored informing us that despite the dis- should we view claims about future the latter, then perhaps school’s out. West 650 N. Bronson Avenue, Suite B140 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036 POV Circulation 203.227.1699 ext 12 [email protected] By Daniel Stein Editorial Production Manager/Reprints/Article Rights Michael Morgera 203.227.1699 ext. 11 [email protected] Digital Marketing: How Not To Be Left Behind © 2008 DCA Business Media LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, The digital mar- people involved; 3) Personalization: served for TV and can be launched 2012, more and more marketers will electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. keting landscape let people make it their own; 4) Un- in a digital format with rewarding re- undoubtedly try to secure a share of To Subscribe Go To is rapidly chang- expected: surprise people; 5) Humor/ sults. EVB most recently produced the this business. Many will fall back into www.shootonline.com/go/subscribe ing. Consumers are Entertainment: evoke an emotion; 6) web-centric campaign, “Elf Yourself” their traditional habits, but marketers For Subscription Service Inquires Call: 1.847.763.9620 less loyal to brands Distribution: use ALL media to tell for OfficeMax along with Toy NY, that strive to understand the needs If your mailing label says RENEW, and more trusting a story; 7) Communities: make the which attracted a booming number of and actions of today’s digital consum- then go to www.SHOOTonline.com/go/renew of one another as consumer your marketer; and 8) Por- consumers--one in 10 Americans and er and produce content that weaves and complete our online renewal form today. a result of disruptive traditional mar- tability: weave your content into their 193 million visits in six weeks--and hit into their daily lives will succeed. SHOOT (ISSN# 1055-9825) printed edition is published bi- weekly except in July and August when published monthly) keting methods. Consumers are no digital life. the bull’s eye of viral success, seeping **** for $125.00 per year by DCA Business Media LLC, at 21 longer a captive audience. They are Worst Practices: 1) Lengthy intro- into pop culture. Daniel Stern is CEO/founding part- Charles Street, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. increasingly becoming digital con- ductions: get to the point or users With the digital marketing indus- ner of digital content marketing firm POSTMASTER: Send address changes to SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. sumers who freely choose the content moves on; 2) Overcomplicating: more try predicted to grow to $61 billion by EVB San Francisco. they experience and use technology technology isn’t always better; know USPS (06-234) For SHOOT custom reprints please contact Michael tools to avoid those messages that your audience; 3) Replication of tra- Morgera 203.227.1699 ext. 11 or email to: mmorgera@ they deem irrelevant. When it comes ditional ads: consumers are savvy Flash Back shootonline.com to the web, digital consumers are and avoid disruptive ads; 4) Expect- March 14, 2003 Palomar Pictures, Los Angeles, will close up shop SHOOT >e.dition published weekly except in January, July, August, and December when three-times per “snackers” and choose to be reached ing people care about your brand: if after an 11-year run....In response to questions regarding the eligibility month. on their terms with quick and satisfy- you don’t bring a bottle of wine to the of two spot entries, the Directors Guild of America is standing fi rmly iSPOT, the digital newspaper for broadband video ing content. This modern consumer party, you won’t be invited back; and behind its award judges’ selection of Baker Smith as best commercial advertising, is published weekly on Wednesdays. For further information go online to www.shootonline. lives a fast-paced, multi-tasking ex- 5) Forcing your brand: consumers are director of 2002....Director Jim Manera and executive producer Tracy com/go/ispot istence with only enough time for in control, so let them come to you. Hauser have teamed with veteran spot production house entrepre- SHOOT is produced in the U.S.A. content that serves a useful and/or Taking into account the above neur Michael Romersa to launch blindfaith, a Santa Monica house that entertaining purpose. guidelines, digital marketing is no lon- will specialize in mainstream commercialmaking, emerging advertain- SHOOT is a member of As traditional agencies scramble to ger constrained to the web. Big ideas ment and varied content. catch up, the digital divide continues should be fluid and move seamlessly to widen, and born-digital firms move from one platform to the next. In July March 13, 1998 Bruce Dowad of Hollywood-based Bruce Dowad forward with digital expertise and 2007, EVB created the “Football Res- Associates has been named Best Commercial Director of 1997 by the high-tech staff in place. With years of urrected” campaign for the launch of Directors Guild of America....Regina Ebel, BBDO New York senior VP/ digital experience, EVB San Francisco 2K Sports’ new football game, All-Pro group head of TV productions, has been promoted to director of tele- has established a set of fundamental Football, which opened with a strong vision production, a post that had been vacant since the Oct. 29 death guidelines for the best and worst prac- digital component and sinuously ex- of Karl Fischer....Director Ali Selim, formerly of The Story Company tices of digital marketing: panded to TV, print, street teams and based in Chicago, has joined Area 51 Films, Santa Monica, for exclusive Best Practices: 1) Simplicity: make national concert tour. spot representation. it quick & easy; 2) Participation: get Big ideas are also no longer re- 2 SHOOT March 14, 2008

News

PEOPLE & PROJECTS Original Additions: Directors Simon West, Jim Manera By Robert Goldrich day’s annual Super Bowl spot poll in Work You May Never See” gallery. ways Prison and the dramatic series in ‘93. Two years later, he shifted over MARINA DEL REY, Calif.—Bicoastal ‘95; another Pepsi Super Bowl com- Born and raised in Hertfordshire, Bleak House (both of which won to Propaganda. After Propaganda’s Original Film has expanded its direc- mercial, in which CG ants (created at England, West began his career in BAFTA Awards). closure in late ‘01, West came aboard torial roster, signing Simon West and Digital Domain, Venice, Calif.) carry 1981 when he joined the BBC as an In ‘85 West began directing com- the former Ritts/Hayden. He later Jim Manera as well as hiring partner/ a bottle of beer into their ant hole apprentice film editor. During his mercials and music videos for produc- had a stint with Saville Productions, executive producer Joe Piccirillo, to the tune of KC & The Sunshine four-year tenure there, he worked tion company Limelight in London. Beverly Hills, before joining Zoo in the founder of Joe Blow Films, Los Band’s “Get Down Tonight”; Cannes on a number of notable productions, He made his first major mark stateside late ‘05. Angeles, who is bringing along with Gold Lion winner Little Caesar’s “Ital- including the documentary Strange- at Propaganda’s sister shop Satellite Continued on page 11 him three directors from that shop, ian Feast”; Mercedes-Benz’s “Smooth Dick Buckley, Anibal Suarez and the Ride,” which earned SHOOT “Top mono-monikered Stanley. Piccirillo Spot” distinction; and high-profile Elias Scores With Signing of Mike Semple joins a core management team at pieces for such clients as McDonald’s, Original that consists of partners/ex- Sprite, Ford, Miller Beer, Jeep, Nissan SANTA MONICA—Bicoastal music, Musical which premiered at the last tures underground legends such as ecutive producers Bruce Mellon and and Capital One. sound and audio identity house Elias Tribeca Film Festival to critical ac- Abstract Rude, Aceyalone, Nocando, Jeff Devlin. West comes over to Original Film Arts has brought noted indie com- claim. Autism: The Musical is slated to Busdriver and 2Mex. poser and guitarist Mike Semple on make its world television premiere on Segal is also collaborating on a daily Newly signed director board as senior composer. Semple’s March 25 on HBO. basis with Elias Arts’ founder/creative music industry credentials include In his new role at Elias Arts, Semple director Jonathan Elias on a variety Simon West is a key part his being a former bandmate in Gi- will continue to score for film and tele- of innovative in-house Elias projects of Original Film’s spot ant Sand as well as Campfire Girls, the vision spanning short and long-form that combine orchestral sound with founder of the group Secretary Bird, fare, working out of the company’s an electronic/hip-hop/rap edge. roster expansion. a partner in Friends of Dean Marti- Santa Monica studio. Jonathan Elias himself is in the fi- nez with band leader Bill Elm, then Elias Arts already has significant nal stages of recording his album en- West’s filmmaking pedigree spans from Hollywood-based Zoo Films teaming with Elm to score Richard ties to the independent music scene. core Prayers in Silence, which will be features (Con Air, The General’s where his endeavors included a Frys Linklater’s film Fast Food Nation. In Kenny Segal, Elias’ composer, pro- released by Universal Classics Group. Daughter, Lara Croft: Tomb Raider, Electronics campaign for advertis- addition to serving as co-composer on ducer and DJ whose specialty is hip The London Philharmonic Orchestra When A Stranger Calls), TV, music ing agency DGWB, Santa Ana, Calif. that film, Semple performed in and hop/electronic and experimental & Choir will accompany a number videos and commercials. West’s body “Pod,” a commercial in that offbeat, produced its soundtrack. music, is launching the album Ken of vocalists on the album including of ad work includes Pepsi’s “Boy In A tongue-in-cheek comedic package, Semple’s wide ranging endeavors Can Cook, on independent label De- Sting, Salif Keita, Jonathan Davis of Bottle” spot, which topped USA To- earned a slot in SHOOT’s “The Best also include his scoring Autism: The con/Project Blowed. The release fea- Korn, and Sinead O’Connor. Editor James Haygood Breathing Life Into Public Service Bolsters State Of Union New York Editorial Shop Launches Nonprofit Venture SANTA MONICA—Editor James Hay- Union partner/executive producer good, who’s wrapped his portion of Michael Raimondi about returning to NEW YORK—The partners in the cutting duties on the Spike Jonze- commercials via Union. Breathe Editing, New York— directed feature motion picture Where Haygood is perhaps best known for editors Michael Schwartz and the Wild Things Are, has joined Santa his work over the years with director Andy Jennison and exec pro- Monica-based editorial and finishing David Fincher, editing the theatri- ducer Kenny Pedini—have house Union. (Jonze di- cal feature films Fight opened Platformbreathe, a rects spots via bicoastal/ Club and The Game, New York-based nonprofi t ven- international MJZ, and Madonna’s “Vogue” mu- ture designed to create, pro- Eric Zumbrunnen of sic video and such noted duce, and air PSAs. bicoastal/international commercials as adidas’ “The idea came to us about Final Cut is continuing “Legs.” (Fincher’s spot- a year ago,” recalled Pedini, his edit of the movie.) making home is bicoastal “when Michael [Schwartz] cre- Already under the Anonymous Content.) ated a PSA with some outtakes Union banner, Haygood Among assorted other from a hip hop music video he (L to r) Kenny Pedini, Michael Schwartz, Andy Jennison has edited a Range Rov- editing credits for Hay- was working on. I immediately a TV commercial to sell some- client, there are no outside er commercial directed good are the feature fell in love with the piece, as did thing. Why not get together forces to water down ideas. by Gerard de Thame of Astronaut Farmer, com- the director of the music video, with these same talented indi- Platformbreathe also handles bicoastal/international James Haygood mercials for Jaguar, Nike, Phil Roc from LBM Films. We viduals and devise wonderful media placement. HSI for Young & Rubicam, Irvine, Coca-Cola, AT&T and Miller Lite, and tried to sell it to the Boys and creative messages for the good “I thought we were going to Calif., the PlayStation MLB launch clips for Don Henley (“The End of Girls Clubs of America but they of society?” have to buy media time when helmed by HSI’s Max Malkin for The Innocence”) and Aerosmith. had no use for it. We decided to The goal of Platformbreathe we fi rst started doing this but Deutsch LA and OnStar directed by Haygood made his first career mark re-tool the PSA a bit and put it is not to be political, religious I was wrong. The stations run Mark Pellington of bicoastal/interna- as an editor freelancing through now on the air ourselves. That was or controversial, but rather to our PSAs for free,” said Pedini, tional Crossroads Films for Campell- defunct Propaganda Films in the late when we had this great idea. send messages that will hope- because Platformbreathe is Ewald in Detroit. 1980s and early ‘90s, editing cutting- Why not open a company solely fully prompt viewers to react recognized nationally as a 501 Haygood, formerly represented for edge work for an ensemble of talented devoted to creating PSAs where in a positive way. The shop’s (c) (3) nonprofi t corporation. commercials by bicoastal Spot Weld- directors, including Fincher. we can be our own client?” fi rst PSA was for a cause--Enjoy Platformbreathe has thus far ers, described his career as being “a Then Haygood went entrpreneur- Pedini noted, “We work all Your Kid. Now--they conceived completed four PSAs and plans single journey of interconnected dis- ial, cofounding Superior Assembly, the time with directors, writers, themselves. “It is designed to to do several more this year. To ciplines” in which he has consistently a leading editorial house which he art directors, producers, com- remind parents to spend time see the company’s work, log crossed back and forth between mov- called home for about a decade. He di- posers who all get together for with their kids,” related Pedini. onto its website www.plat- ies and spots. While at work on his vested himself of his ownership stake the common goal of making Since Platformbreathe is the formbreathe.org. latest feature project, Haygood con- in that now former shop and joined ducted ongoing conversations with Spot Welders in ‘02. 4 SHOOT March 14, 2008 Too much camera for the money.

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3732_SHOOT_Dec7.v2.indd 1 11/26/07 3:04:27 PM News

Directors Zack & J.C. Find Lost Highway Short Takes By Robert Goldrich feel Lost Highway is a small, tightly DRAWINGS COME TO LIFE FOR UPS NEW YORK—The directorial team of knit shop that will give us the atten- UPS’ ongoing “Whiteboard” campaign out of The Martin Agency, Zack & J.C.—Zack Resnicoff and J.C. tion we need to continue to grow.” Richmond, Va., takes on a new dimension with its latest batch of Khoury—has joined Lost Highway Khoury said that Rosenberg “pre- spots as the drawings on the whiteboard—penned by on-camera Films, New York,. The duo comes sented a clear approach in terms of spokesman Andy Azula, The over from bicoastal/international handling the next phase of our ca- Martin Agency’s creative di- house @radical.media. reers—something we didn’t get in such rector on the UPS account— During their @radical.media detail from other companies.” come to life. For example in tenure, Zack & J.C., best known for Zack & J.C. made their first indus- “Conveyer Belt,” one of five their comedic prowess, directed as- try mark when they were selected for new commercials recently sorted projects, including a pair of SHOOT’s fourth annual New Direc- debuting on air, we see con- web campaigns for Avaya via R/GA, tors Showcase in 2006. Their spec veyer belts moving on a U.S. New York; an in-house Guinness spot, Mountain Dew’s “Foley,” was map. When Azula expands project out of BBDO New York; a Zack & J.C. screened at the SHOOT event in May this to a global map, assort- Video-On-Demand piece for Comcast was recently featured in SHOOT’s of that year at the Directors Guild of ed new conveyer belts are #,)#+(%2%4/6)%730/4 to promote the HD release of the six iSpot (12/5/07). America (DGA) Theatre in New York, put into motion worldwide. Then the UPS logo drawn by Azula is Star Wars films; and a Time Warner Also via their New York-based where it was also announced that @ turned as if it’s a knob, causing the speed of the conveyer belts to web campaign. Shoot First, Zack & J.C. directed two radical had just signed them. “Foley” increase. The campaign also introduces other characters into the Additionally, @radical.media TV spots for the Kentucky Lottery as went on to win an Association of In- Whiteboard world. landed an Orange Julius web film for well as a commercial for Western & dependent Commercial Producers “We feel the new work retains the ‘Whiteboard’ equity for UPS— Zack & J.C. who produced the limited Southern Financial Group. (AICP) Show honor the next month. allowing us to describe complex systems in very simple ways,” said budget project through their ongo- Resnicoff and Khoury said that Currently as a counterpoint to their Azula. “But this year we’re able to take on even more complex prob- ing Shoot First Entertainment ban- after being courted by several shops, comedy spotmaking, Zack & J.C. are lems as the whiteboard comes ‘alive’ and other characters appear ner. The film was the first live-action they went with Lost Highway based in development on a remake of the talking about issues many UPS customers face—then we get to il- advertising ever done by Orange Ju- largely on their affinity for executive 1974 crime thriller Rabid Dogs, an lustrate the solution.” lius and was an offbeat look at Julius producer Marc Rosenberg and his Italian film which was directed by The campaign is designed to send customers to the microsite, Freed, the inventor of the frothy or- plans to further develop their com- Mario Bava. Zack & J.C. finalized a ups.com/whiteboard. ange beverage, which was introduced mercialmaking careers. deal with the movie’s rights holder The five new :30s—”Conveyer Belt,” “Pallets,” “Paperless” “Air in the 1920s. Titled Julius Freed: An “Marc gave us a written treatment to do the remake, have written a new Freight” and “Signatures”—were directed by Henry Lu of bicoastal/ American Original, the viral film was detailing strategies for getting the script. The directors are currently in international Moxie Pictures. The DP was Jesse Green. the centerpiece of a campaign from kind of work we want, targeting cer- talks with several companies about Editor was Kim Bica of bicoastal Lost Planet, with visual effects agency space150, Minneapolis, and tain clients,” related Resnicoff. “We producing the project. from Ring of Fire, Santa Monica.

ARTISANS COMPASS CHARTS COURSE TO EFFECTS OSCAR The Golden Compass proved worthy of the golden statuette, a cov- Dir. Maher Climbs Onto Sleeping Tree eted Oscar, for best visual effects. While effects studios around the world were involved in the film, four lead artisans on the feature By Robert Goldrich ing the actor’s performance as Frank the opportunity to direct. received Academy Awards last month: visual effects supervisor Bill NEW YORK—Director William Ma- Fowler in the acclaimed feature film Sleepwalking is slated to be released Westenhofer of Rhythm + Hues Studios, Los Angeles; effects super- her—whose feature filmmaking debut In The Bedroom. theatrically today (3/14) via distribu- visor Ben Morris of Framestore CFC, London; special effects super- Sleepwalking starring Nick Stahl, tor Overture Films visor Trevor Wood; and the film’s overall visual effects supervisor Charlize Theron, Woody Harrelson VFX pedigree At press time, Sleeping Tree was Michael Fink. and Dennis Hopper premiered at Maher’s potential contributions to in the process of assembling Maher’s The Oscar comes on the heels of The Golden Compass, which was the Sundance Film Festival in Janu- spotmaking could also come in the reel to present to ad agencies and spot directed by Chris Weitz, earning best visual effects honors at the ary—has signed with Sleeping Tree visual effects discipline. For the past clientele. He noted that excerpts from British Academy of Film and Television Arts (BAFTA) Awards. Also Films, the New York house headed Sleepwalking will be a prime element earlier this year in the U.S., Rhythm + Hues won a Scientific and by owner/director Peter Odiorne, for of that directorial reel, with possibly Technical Academy Award for the development of its fluid simula- spot representation. some effects work added to the mix. tion tools which were featured in the daemon death sequence of This marks Maher’s first foray into “With a feature film, you spend The Golden Compass, as well as assorted other movies.... commercials. He gravitated towards years developing that one project and Sleeping Tree on the basis of a long- a style for that project,” observed Ma- PEOPLE IN THE NEWS running friendship with Odiorne. her. “What I like about commercials is Chris Willoughby has come aboard Irvine, Calif.-based Shelter as a Maher cited Odiorne’s high energy you sort of have a range of styles avail- partner and lead editor. At his new roost, he wrapped a Del Taco level as well as his vision for the com- able to you....I’ve been conscious of spot, “Annoying,” for agency Brainsaw in Tustin, Calif. Willoughby’s pany as factors that drew him into the trying to show a range in my work so past affiliations include post shop’s fold. Maher has known Odio- far. I deliberately didn’t want the first house Space Division and new rne dating back to the latter’s tenure film I directed to be a visual effects media firm ARTiFACT, both of as a spot editor. film. Commercials offer the opportu- which he co-owned. He also “I’m very much interested in the nity for me to hopefully continue to founded editing/design compa- challenge of trying to tell a story in William Maher expand my range.” ny Two Headed Monster. Over just thirty or sixty seconds,” related eight-plus years he’s been an effects Maher is the latest addition to the the years Willoughby has cut Maher. “It’s a challenge that I em- artisan in features, serving for exam- Sleeping Tree roster. Robert Mar- commercials for such clients as brace as a filmmaker.” ple as VFX sequence and data super- kopoulos, with an extensive track re- Coca-Cola, Nike, Apple and adi- Maher brings narrative sensibili- visor on X-Men 2. cord as a director and DP in the sports Chris Willoughby das, as well as music videos fea- ties to the ad arena as reflected in During his spare time in-between world, has joined the company, com- turing Michael Jackson and Madonna, among others....Tiffany Kosel Sleepwalking, a drama which tells the those effects gigs, Maher over the ing over from NFL Films. And Sleep- has been promoted to creative director at Crispin Porter+Bogusky, story of a broken family, focusing on past several years worked on getting ing Tree has taken on East Coast and which has offices in Miami and Boulder, Colo. She originally joined a young man (played by Stahl) whose Sleepwalking made. The film came to Midwest representation for director the agency in ‘02 and has turned out notable work for Burger King, life has been dramatically impacted him based on a chance meeting with Jim Barton who continues to helm the American Legacy Foundation, MINI and Victoria’s Secret. She by his upbringing. Maher wanted its writer Zac Stanford. The two de- spots for West Coast agencies via his now heads up the American Express OPEN account..... Stahl for this lead role ever since see- veloped a rapport, with Maher getting Project Film & TV in San Francisco.  SHOOT March 14, 2008 Call For Entries YOUR NAME HERE NewNew CALL FOR ENTRIES DirectorsDirectors WantedWanted SHOOT’sSHOOT’s 2008 2008 6th 6th Annual Annual NewNew Directors Directors Search Search Is Is On! On! Do You Have ALWAYS A PACKED HOUSE What Work is What It Takes To - STANDING ROOM ONLY Eligible to Enter? Be The Next Hot Category 1 New Director? Traditional Broadcast: TV spots, spec work, cinema ads, branded content SHOOT is conducting a worldwide Category 2 search to discover the best up-and-com- Alternative Media Content: ing directors who, based on their initial webisodes, spots created for online use, work, show promise to soon make major AFTER PARTY ROCKS mobile-phone content, in-game ad- positive contributions to advertising vertising, advergaming, virals, alternate reality gaming, ads created for PDAs and/or entertainment in its traditional The fi nal reel will be screened for an audience of key and emerging forms. This global search advertising agency and production industry decision- Category 3 makers at SHOOT’s 2008 New Directors Showcase is conducted by SHOOT’s editorial staff Other: Event at the DGA Theatre in New York City on May 28. with input from advertising agency music videos, short fi lms, feature fi lms creative directors & heads of production, Directors can submit work that was as well as production company heads New Directors receive enormous film students. One bond the directors completed in the last 16 months. and established directors. The search is career-making exposure! share is great style and vision, whether (January 2007-April 2008) (excerpts it be reflected in comedy, visuals or being conducted between January 25th from shorts, and excerpts from long- “It was an honor to be recognized storytelling. and April 18th 2008. form fi lm or other entertainment fare in SHOOT’s 2007 New Directors should be NO MORE than 5 minutes Showcase. As a new director in such a ENTER SHOOT’S NEW DIRECTOR in length) Must be directing com- After the best work is chosen SHOOT will mercials less than two years (three if competitive market, you need all the SEARCH NOW... compile the 2008 SHOOT New Directors work has been regional only) & must be street cred you can get since there’s It could be a big step towards being Showcase Reel and interview the direc- available to direct commercials. just over 150 million directors in the noticed by the companies that can tors for a special feature that will appear U.S. alone.” represent you and the agency cre- Entry Deadline in SHOOT’s May 23rd issue, pdf version, Rob Luehrs atives and producers that can hire you. April 18, 2008 HTML e.dition, and on SHOOTonline. SHOOT 2007 New Director, com, bringing worldwide attention to Reactor Films Entry Fee the work and the directors. In addition, $75.00 for fi rst 2 pieces of work, the work will be screened for an audi- See the directors’ work that was cho- $25.00 each addtl ence of key advertising agency and sen for last years showcase event on For additional entry information production industry decision-makers SHOOT’s 2007 New Directors Web Reel [email protected] at SHOOT’s 2008 New Directors Show- at www. shootonline.com/go/search. or by telephone at case Event at the DGA Theatre in New The directors selected for the Show- 323/960-8035, ext 6681 York City on May 28. Coverage of that case come from diverse backgrounds. Over 20 Showcase Finalists receive priceless FOR SPONSORSHIP INFO event will appear in SHOOT in June and Some first established themselves on career-building exposure plus a gala the agency side of the business, while email [email protected] the showcase reel will be posted on evening event in front of a packed house at or by phone at 203-227-1699, ext.13 SHOOT’s website. others were DPs, feature filmmakers or the DGA Theatre in New York City. Entry Forms at WWW.SHOOTONLINE.COM/GO/SEARCH ©2008 DCA Business Media LLC. All Rights Reserved. March 14, 2008 SHOOT 7 News

Jake Scott Helms Episodic Campaign For Columbia Sportswear

Continued from page 1 Boland and Ben Carter, copywriters as producer. The DP was Salvatore related, “We looked at a lot of people mercials there are all kinds of require- John Heinsma and Bem Jimmerson Totino. Editor was Hank Corwin of bi- and chose Jake because he has an abili- ments—an idea, a style, the right setting, and producer Scott Fox. costal Lost Planet. ty to make you feel like you are actually speaking directly to a demographic. Fran McGivern executive produced Regarding the selection of director in the environment instead of it being This campaign was unburdened by all for RSA, with David Mitchell serving Scott for the campaign, writer Heinsma on a screen in front of you.” that. The movement of the camera was guided completely by Tim’s kind of lei- surely tempo. There’s no music and just Duff y’s POV On Auto Trader Campaign the sound of the desert as he wanders about. We deliberately reduced every- Continued from page 1 their dream automobiles, which view- spots—one which takes us to an un- thing to its essentials.” bodies are kind of diminutive,” said ers can see take the form of brightly derwater environment, the other to a Scott embraced this simple, minimal- SpecialGuest’s Aaron Duffy who di- colored holograms. big city setting. ist approach. “The concept reminded Jake Scott rected the spots. “They are cute and Meanwhile the world these char- Moseley said the characters and ex- me a bit of newspaper comic strips—a The leisurely tempo of Tim’s mean- fun, and simplistic in their shape—a acters live in consists of auto parts pansive world created for Auto Trad- story in four pictures with our look- dering posed a dilemma for Scott who simple oval over a simple oval.” but SpecialGuest infused what could er are in line with what he strove to do ing at a character’s takes and musings as SHOOT went to press was trying The texture and surface of the have been a drab environment with while serving as executive creative when encountering a situation.” to figure out how to present the work characters looks as smooth and shiny a beautiful fantasy-like feel. “It could director at Wieden + Kennedy, Am- There’s dry humor throughout. on his reel. “I have been trying to cut as the finish on a new car, while the have looked like a junkyard car heap, sterdam, his roost prior to HDM&G. For example, Tim finds in the desert a :60 or :90 from this campaign but it’s head and face design is high-tech. which we didn’t want,” said Duffy. Spe- “We’re creating a piece of entertain- a standing car door with a hand crank- impossible. That’s because it works as Duffy related, “We thought it would cialGuest instead created a welcoming ment that has digital prospects with operated window. We see through the a campaign and Tim’s tempo is so con- be a lot more fun if their heads were countryside landscape dotted with such worlds and characters that we hope window a profile of Tim’s head and stant and sustained throughout that the digital interfaces, like digital TV touches as trees that resemble automo- audiences will want to explore and shoulders as if he’s seated inside the you can’t change the tempo through screens, and their faces would actu- bile pine air freshener cutouts. get involved with online, generating ‘car.” He then crank downs the win- editing to make it work as a single piece ally appear on the TV screens.” The air freshener gag is one of a viral dynamic. We did this at Wie- dow and rests his arm on the door. “Car of 90 seconds or so.” Further helping these quirky ro- many in “New Car Finder,” necessi- den with [Coca-Cola’s] ‘Happiness Window” is a snippet from “Day 11” on The Borders Perrin Norrander bots to develop as individual charac- tating multiple viewings to catch all Factory’ and I see some distinct par- Tim’s journey, the spot tagged with the ensemble included creative director ters on screen is being privy to their the visual jokes. And slated to soon allels between that work and what Columbia slogan, “Stay out longer.” Terry Schneider, art directors Jeremy thought processes as they envision debut are the other two Auto Trader we’ve done for Auto Trader.”

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8 SHOOT March 14, 2008 HD Essentials

DTV Awareness On The Rise Consumer awareness of the federally mandated transition to digital tele- vision (DTV) has grown substantially over the past year, reaching 79 per- cent according to a survey commissioned by the National Association of Broadcasters (NAB). The survey, which was conducted in January 2008, consisted of a na- tional sample of television households. Seventy-nine percent of respon- dents reported that they have “seen, read or heard something about the February 17, 2009 transition to digital television.” Awareness was even greater among exclusively over-the-air-TV-signal households, where 83 percent of respondents reported they are aware of the transition. Overall, consumer awareness has more than doubled since January ‘07 when an NAB survey asking the same question found that only 38 percent of consumers were aware of the transition. “This is a big step toward our goal of reaching every American with information about the DTV transition,” said David K. Rehr, president and CEO of NAB. “The fi rst phase of our consumer education campaign has been highly successful, and our next phase will focus on helping con- sumers learn more about the steps they need to take to receive a digital signal before February 17, 2009.” More than 34 million households that rely on over-the-air television signals will be aff ected by the transition to digital television, which will be completed on February 17 when all full-power television stations must turn off their analog signals and begin broadcasting exclusively in the digital format. Broadcast networks and nearly 1,500 television stations nationwide are participating in the comprehensive consumer education campaign, which includes a rich variety of on-air, online and grassroots initiatives. “This survey demonstrates that broadcasters’ consumer education cam- paign is eff ective,” contended Seth Geiger, president of Smith Geiger, the research fi rm that conducted the survey. During the next phase of the consumer education campaign, broad- casters will focus on helping consumers learn more about the converter box coupon program and other options they have to upgrade to digi- tal. Broadcasters will be communicating this information through on-air advertisements, a 30-minute educational television program about DTV, and several other multifaceted, multiplatform initiatives. The NAB continues to maintain its offi cial DTV transition campaign website, DTVanswers.com, which consumers can log onto to learn more about the transition to DTV. Cash Buys Into JVC Director Tim Cash of Bend, Ore.-based FarfromEarth Films has been deploying the JVC HD100 Series camera on projects ranging from mu- sic videos to shorts. Cash wrote, directed and edited Skipping Stones, a 30-minute short about a young trekker who travels to Nepal where he’s enlightened by a monk. Shot with an HD100 Series camera, Skipping Stones debuted at the Bend Film Festival. “I have a special brand of color correction I use on every shot. It gives the image more pop and creates a more fi lm-like look. People constantly ask me what I use to shoot and they can’t believe it’s not fi lm,” said Cash. “I just love the ergonomics of the JVC’s camera,” he continued, “and fi nd smaller cameras much harder to shoot on. The lens is what really sold it for me. Shooting manual is easy on the HD100 Series camera as everything you need is right on the lens.” Cash also uses his JVC camera to shoot music videos, including a clip for reggae artist Jah Sun, whose single, “Fyah Dance” was nominated for LA Music Hip-Hop Song of the Year. Cash’s videos are also gaining expo- sure on the Internet, as his video for Caribbean artist Ras Attitude has been viewed nearly 20,000 times on YouTube. This year, Cash plans to take FARfromEarth Films on the road to shoot music videos across the country, in an eco-friendly bio-diesel RV to pro- vide music videos to bands at a discounted rate.

****

Contact SHOOT editor Robert Goldrich with HD-related news and developments at [email protected] or (323) 960-8035.

9 SHOOT March 14, 2008 CHAT ROOM

Marcello Serpa At the age of 45, he is set to receive Clio’s Lifetime Achievement Award. But for him, it’s only “halftime.”

By Robert Goldrich After seven years in Germany, Serpa returned to Brazil where he On May 15 during a formal dinner event in Miami Beach, worked at the Rio and Sao Paulo offi ces of ad shop DPZ before joining Marcello Serpa, partner and general creative director of Al- DM9DDB in 1991. mapBBDO, Sao Paulo, Brazil, is scheduled to receive Clio’s In ‘93, the year he scored the Grand Prix honor, Serpa and Jose Luiz Lifetime Achievement Award. It’s a curious honor given Madeira, a senior account manager and strategic planner, both left that Serpa is only 45. But at the same time, it underscores DM9DDB to become partners at AlmapBBDO. Over the years that agen- his achievements to date which in many respects have cy has managed to create standout work for such notable clients as Volk- helped the advertising community in Latin America to at- swagen, Pepsi, Inbev, Bayer, Audi Brazil, Mars Brazil, Gatorade, Havaianas tain a higher profi le over the past 15 or so years, dating and Greenpeace. back to when at Brazilian agency DM9DDB he became the Serpa is the most awarded creative in the history of the Sao Paulo fi rst Latin American to win the Grand Prix at Cannes, in print Creative Club Yearbook,, and has been selected best creative director in and outdoor for an Antarctica soft drink campaign. Iberian America and Brazil eight times by the El Ojo de Iberoamericana Born in Brazil, Serpa actually began his career in Germa- Festival. During his 15-year (and still counting) tenure at AlmapBBDO, ny. He studied graphic design in Munich and then landed the agency has won 45 Clio statues, topped the annual Gunn Report in work as a creative at German advertising agencies GGK both 2004 and ‘05 as the most awarded ad shop in the world, and was and R.G. Wiesmeir. named Agency of the Year in 2000 at Cannes.

SHOOT: What does the Clio honor Germany are totally different worlds. throughout the region—young people creative director evolved? selves from there. mean to you? with new, fresh ideas; new talent that As an agency, we continued to win SHOOT: Could you elaborate on what is trying to make a difference. It’s a Serpa: It’s changed dramatically all kinds of awards, a key one be- Serpa: First, I was really surprised you see as being the differences be- powerful market. in terms of the different media we ing the Agency of the Year honor to hear that I was named to receive tween those two worlds? I’m assum- By contrast, 15 or 20 years ago, cre- need to deal with today. I started as at Cannes in 2000. That made some the award. It’s a big honor that repre- ing for example that German culture ative performance was spotty. Once an art director and was grounded in people around the world angry but sents not only my work but the talent is more analytical while Brazil skews in a while you’d see good work from TV and print. Now you have to look it also caused many to take notice of of those I’ve had the good fortune to to the more emotional. Brazil but it wasn’t consistent. Now well beyond that with new forms of what we’re doing in this market. We work with over the years. we’re consistently seeing good work content emerging, particularly on become recognized as a world-class It is also recognition of the power Serpa: Yes. We are more emotion- all through Latin America. the Internet. And you’re dealing with creative market. of this region creatively. And it’s very ally oriented and driven in Brazil. The problem we’ve always had— many more creative people. We have Most gratifying to me is that we’ve good to see that Clio is looking at Germany is much more driven by which was even more prominent our Internet people now on the same been able to maintain a high level of what’s happening south of the United the rational, the cerebral. My creative years ago—is that we don’t often have floor with us because we all have to creativity consistently over the years. States border. That’s difficult to do—it means so Clio’s Lifetime Achievement Award for much more than being a fashionable, SHOOT: You started your career in hip agency for just a year or two. Germany. Do you feel being exposed 2008 will be bestowed upon Marcello to European creative sensibilities en- Serpa, partner and general creative SHOOT: Does it feel odd to win a life- abled you to bring a different dimen- time achievement award at the age of sion to advertising when you returned director at Brazil’s AlmapBBDO, during 45? to Brazil? an evening awards ceremony on May 15 Serpa: Yes. This is the kind of award Serpa: Absolutely. When I was 18, I in Miami Beach. you’re supposed to receive when traveled abroad and had the chance you’re white haired and trembling to study design in Germany and then quite a bit. work at agencies there. I’ve found experience in Germany helped me to big budgets. But we’ve learned to turn work well together. We have to cre- Ultimately I look at it like a soccer that having an international back- bring some of that rational German that into an advantage. Without big ate concepts that work everywhere, game where each half is forty-five ground helps a lot. It helps you to look orientation to my work in Brazil, cre- budgets, you’re forced to be simple across all media. minutes long. I scored in the last sec- at things a little bit differently. It adds atively meshing those distinctly dif- and fresh. You don’t have Hollywood onds of the first half with this award new dimensions to your thinking. ferent rational and emotional aspects behind you so you have to rely on SHOOT: In light of being honored and now I have to go take a shower When I came back to Brazil, I saw in my advertising. simple and easily executed ideas. And with an industry lifetime achieve- and then come back on the field to everything here in a different light. I clean, fresh ideas work well in print, ment award, what achievements do play some more. had a different angle and perspective SHOOT: How has the Latin Ameri- TV and the Internet. Local budgets you look back on now as having been The second half will be much easi- which added more value to things in can market changed and progressed are still rather tight. Yet we do have particularly significant? er to play than the first. But I will con- Brazil that I had previously taken for over the years? many international companies com- tinue to play and have fun. The pro- granted. Bringing new perspectives ing to Latin America to tap into our Serpa: The Grand Prix win because duction of good work, good creative to your world can really open you up Serpa: The market is coming of creative talent and those budgets are it generated attention for all of the is fun. Good work and fun belong to- creatively and help you to see new age. It’s not just Brazil doing well a bit larger. Latin American creative community. gether. My hope for the second half is possibilities. It was like a coming to- but Argentina, Mexico, Chile and People around the world started to that clients will continue to allow us to gether of two worlds—and Brazil and Peru. There are good creative people SHOOT: How has your role as agency notice Brazil and we’ve built our- produce good work on their behalf. 10 SHOOT March 14, 2008 News

Original Expands Roster

Continued from page 4 Manera Perhaps best known for his work on the long-running Chevrolet “Like A Rock” campaign, Manera—who was most recently represented by Santa Monica-based Reactor Films—began his career as an art director and copy- writer with Leo Burnett, Chicago, and then became a creative director at the then Tatham, Laird & Kudner, Chi- cago. He later joined DDB Needham (now DDB), Chicago, where he was group creative director on the An- Jim Manera heuser-Busch account. was too good to pass up, especially During the last seven months of his considering he would be bringing his two years at DDB, Manera directed se- core directing talent with him. lect jobs through the agency’s former “This was just a fantastic oppor- in-house production arm, Zone One. tunity to grow professionally and to That directorial work began to elicit work with [exec producers/partners] serious interest from several produc- Bruce [Mellon] and Jeff [Devlin] to tion houses, ultimately resulting in take the company to another level,” his signing with the now defunct Mi- Piccirillo said, describing Original as chael/Daniel Associates in ‘90. “a great brand” built during its nearly In ‘92, Manera shifted over to two decades in business. Bedford Falls, Michael/Daniel’s suc- Director Buckley is probably best cessor shop. Subsequent affiliations known for helming McIlhenny Tabas- included such houses as Pavlov Pro- co’s lauded “Mosquito” spot, which ductions (Sony Pictures’ commercial ran during the Super Bowl telecast in division), Cucoloris, Manera’s own ’97 and went on to win a Gold Lion at company Blindfaith and then the the Cannes International Advertising aforementioned Reactor where he Festival that year. reunited with executive producer Mi- The classic commercial shows a chael Romersa (formerly of Michael/ guy seated on a front porch dousing Daniel and Bedford Falls). his food with Tabasco sauce. As he Manera’s directorial credits over chomps away on his meal, a mosquito the years include commercials for bites him. The guy doesn’t even flinch such clients as Dr Pepper, McDon- as if he knows that swatting the mos- ald’s, Levi’s, Carl’s Jr. and Blue Cross. quito would serve no useful purpose. His work has garnered assorted We then see that he’s right as the industry honors, including 23 Clio mosquito flies off only to explode in Awards, 14 ANDY Awards, three One mid-air as a result of consuming the Show honors, recognition from the gent’s Tabasco-laced blood. Cannes Lions International Advertis- Meanwhile spotmaker Stanley’s ing Festival and the Canadian Bessie roots are in agency creative soil. He Awards. The Bessies included best in served as a creative at JWT in Argen- show and best in category for a five- tina, then a creative director at Leo spot Moosehead beer package featur- Burnett’s office in Colombia before ing Alan Arkin. Manera’s latest work breaking into directing with a Clio- includes commercials for Bermuda winning spot for Chicklets chewing Tourism and Honda. gum. His filmography also includes di- Stanley’s directorial reputation recting an episode of the CBS show has been earned largely in the His- Nash Bridges and serving as second panic ad market and over the years unit director and “B” camera opera- his work has gained recognition at tor under director Adrian Lyne on such competitions as the New York the feature Indecent Proposal starring Festival and the Cannes Lions Inter- Robert Redford, Demi Moore and national Advertising Fest. Woody Harrelson. At press time Suarez was directing Manera also currently has a deal at an Ohio Lottery assignment for Stern US]`UWO]`U Paramount/CBS for a dramatic TV Advertising, Cleveland. movie he wrote. He additionally plans West, Manera, Buckley, Stanley to begin shooting the independent and Suarez join an Original spot- ESY\]eeVObYSS^ag]cc^Ob\WUVbBVOb¸aeVg5S]`UWO]TTS`aOTWZ[Q][[c\Wbg bVObQO\[OfW[WhSg]c`PcRUSbZWYS\]]bVS`A]cbVS`\Z]QObW]\0SQOcaSeS¸`S film The Red Blanket, based on his making roster that includes feature O\ObW]\OZZg`SQ]U\WhSR^`]RcQbW]\QS\bS`SdS`gbVW\Ug]c\SSRT`][^`S^`]b] original screenplay. film directors Dennis Dugan (Happy ^]abWa`WUVbVS`S>ZcaOP`O\R\SeaSb]TbOfW\QS\bWdSaeWZZOZZ]eg]cb]^cbSdS\ Gilmore, I Now Pronounce You Chuck []`S]Tg]c`PcRUSb]\bVSaQ`SS\1][Sb]5S]`UWOO\R`SabSOag1]\bOQbbVS Piccirillo & Larry and the upcoming You Don’t 4WZ[DWRS]O\R;caWQ=TTWQSOb""'$ "# DWaWbUS]`UWO]`UTWZ[ Although Joe Blow Films was en- Mess with the Zohan), Hugh Hudson,  joying a successful run since its launch (best picture Oscar winner Chariots of in ‘02, Piccirillo closed the company Fire) and Stefen Fangmeier (Eragon) for the Original opportunity, which for commercials. 11 SHOOT March 14, 2008 Top Spot of the Week Kinka Usher Steers A Dog Right For Bridgestone And The Richards Group By Christine Champagne For his part, Usher found the rags- appear as though the dog really could So the client ultimately decided to If you have been to the movies or to-riches journey compelling. be running inside this tire. run two :30s—”Scream” and “Unex- tuned into HDNet lately, you may Straight away, the director made While the dog, who was flown to pected Obstacles”—during the Super have seen a delightful Bridgestone “Lucky Dog” better by tightening the Italy, does jump into and runs inside Bowl and place “Lucky Dog” in the- spot called “Lucky Dog.” Created by story, praised The Richards Group as- the tire for real in the opening mo- aters and on HDNet. The Richards Group, Dallas, and di- sociate creative director/copywriter ments of the spot and is inside it in Given its cinematic look and feel, rected by Kinka Usher of House of Mike Duckworth, who conceptual- the final seconds, the rest of what we “Lucky Dog” plays well in theaters Usher Films, Santa Monica, Calif., the ized the spot with associate creative see is an illusion created by a team and on HDTV. But, in hindsight, this :60 is set in a quaint Italian village and director/art director Peter Everitt. of artisans at Method Studios, Santa wonderful underdog story would finds a homeless dog wandering into They originally envisioned a longer, Monica, led by VFX supervisor/lead have been perfectly placed on the Su- a garage, lured by the more complex journey 2D artist Alex Frisch. per Bowl, Duckworth mused, adding smell of food. that would take the Method’s contribution was crucial, with a laugh, “But who thought the As the hungry little dog from the coun- Usher said, noting, “It was critical for Giants were going to win?” dog (named Pebbles) tryside into town, but the viewer to believe that the dog is approaches a bowl of Usher thought it best in the tire.” meat, a big dog lets to keep the dog’s trav- As for how the effect was achieved, top him know in no un- els within the confines Usher first shot the tire rolling certain terms that the of the village “so that through the streets of Orvieto, simply food is his. Afraid for viewers wouldn’t get pushing it through the streets himself. Spot of the week his life, the little dog lost along the way.” Later, at Sony Studios in Culver City, jumps inside a tire and Calif., Pebbles was filmed running in- starts running, propel- Street smart side of a circular treadmill in front of a CLIENT Bridgestone ling himself through Kinka Usher With the story re- blue screen, with care taken to match AGENCY the streets as other fined, Usher and his the speed of the treadmill to the speed The Richards Group, Dallas. dogs give chase. crew, including DP Max Malkin, shot of the tire that was rolled through the Glenn Dady, creative director; Mike Eluding the pack, the dog and the “Lucky Dog” in Orvieto, Italy, which streets in Italy. Duckworth, associate creative di- tire roll through the open door of a was both a beautiful and manageable To make the match precise, the cir- rector/copywriter; Peter Everitt, as- sociate creative director/art direc- butcher shop just as the proprietor, location. “It was the only time I’ve cular treadmill was actually placed on tor; JR Dixon, producer. who doesn’t see the invader, is closing ever done a three-day shoot and nev- a hydraulic platform that mimicked PRODUCTION COMPANY for the night. er gotten in a car,” Usher shared. “We the angle of the Orvieto streets down House of Usher Films, Finally safe, the dog steps out of the were able to walk to every location. It which the tire traveled. Method later Santa Monica, Calif. tire and surveys his surroundings, re- was fantastic.” composited Pebbles inside the tire. Kinka Usher, director; Max Mal- kin, DP; Nancy Hacohen, executive alizing he has hit the jackpot when he Orvieto also had sloped streets that Duckworth said that the three- producer; Kathy Rhodes, producer. sees all of the meat around him. were steep enough to roll a tire down act story played out in “Lucky Dog” Shot on location in Orvieto, Italy, “For drivers who want to get the but not so steep that the tire moved provided a solid framework for editor and on stage at Sony Studios, Cul- most out of their journey, it’s Bridges- too fast. There was a balance to be had Tom Muldoon of Nomad Editing Co., ver City, Calif. tone or nothing,” a voiceover intones. speed-wise because Usher needed it to Santa Monica, to work with. But the The Italian Production Service, real challenge came in nuancing the Milan and Rome. Claudio Carrer, production service journey—portraying the dog as being producer. a bit out of control as the journey be- EDITORIAL gins, then picking up confidence and Nomad Editing Co., control as it goes on. Santa Monica. Tom Muldoon, editor. Great debate POST/VISUAL EFFECTS One of the matters debated during Company 3, Santa Monica. the edit was whether the dog pur- Sean Coleman, colorist. Method Studios, posely steers the tire into the butcher Santa Monica. shop or makes an accidental—yet Alex Frisch, VFX shoot supervi- fortuitous—turn. In the end, it was sor/lead 2D artist; James LeBloch, decided to make it ambiguous. “We lead 3D artist; Seb Caudron, Tara DeMarco, 2D artists; Felix Urqui- liked the idea of the viewer wonder- za, Matt Longwell, 3D artists; Lisa ing, ‘Did he steer in there, or did he Houck, executive producer; Aaron get in there by chance?’ “ Duckworth Kisner, Chandra Irving, Stephanie said, noting, “What really matters is Gilgar, producers. that the tire took him somewhere he MUSIC Beacon Street Studios, wanted to be, which is the story we Venice, Calif. wanted to tell.” Danny Dunlap, John Nau and An- It was a story that was almost told drew Feltenstein, composers/ar- during Super Bowl XLII, by the way. rangers. “Lucky Dog” was part of a three-spot, SOUND DESIGN Usher-directed Bridgestone Super Nomad Editing Co. Bowl package. Intended as a :30, it Tom Stamatio, sound designer. AUDIO POST was clear after “Lucky Dog” was shot Play, Santa Monica. #,)#+(%2%4/6)%730/4 that the spot was worthy of :60, and John Bolen, mixer; Sara Hartman, Bridgestone had only purchased two producer; Ryan Sturup, assistant In this charming :60, the protagonist little canine is indeed an underdog, first bullied about and then left to be prisoner in a runaway tire careening :30 time slots during the big game, mixer. through a village before reaching an unexpected nirvana--a butcher’s shop after closing where the pooch can indulge his inner carnivore to the max. Duckworth explained. 12 SHOOT March 14, 2008 The Best Work You May Never See Director Hendler Helps Music Take Flight By Robert Goldrich up with a great vocal hook which begins really meek and distant but then Never underestimate the power of tinkering. One day director Stewart Hendler develops into a beautiful, soaring crescendo.” was waiting around somewhere and fiddling with his iPod. He began mind- Human composer/co-founder Morgan Visconti described the track as be- lessly rubbing the earphones and it occurred to him that they looked like min- ing one with a “bittersweet, haunting feel. We wanted a track that would be iature CPR paddles. instantly memorable—one that would sound more like a record than a scored “I remember thinking, ‘What can you bring to life with tiny electric CPR piece. We wanted to write something that a potential Zune user would want paddles?’” said Hendler. “And the idea stuck in my mind for quite awhile before pre-loaded onto their machine. We used acoustic instruments—piano, guitar, I decided to actually do something about it.” drums and violin. In post, we added reverb over the whole stereo mix to give That “something” was to create a spec spot which is this week’s entry in it a ghostly, ethereal sound, featured during the bird’s ‘resurrection’ sequence. SHOOT’s “The Best Work You May Never See” gallery. One of the musical artists that I produce, Leah Siegel, a well known New York The piece opens with a youngster listening to his Microsoft Zune music play- City artist, co-wrote the track, wrote its melody and provided the vocals.” er as he walks down the street in drab inner city surroundings. The lad comes Hendler is no stranger to SHOOT recognition. He was included in this pub- upon what looks like a dead baby bird lying on the sidewalk. He kneels down lication’s inaugural New Directors Showcase in 2003. At that time, he was with and gently places his dual earphones—as if they were CPR paddles—against the the former Omaha Pictures. bird’s tiny chest. Several years later, after taking time out to helm his feature debut—a super- Amazingly the impromptu musical treatment/resuscitation works. The bird natural thriller titled Whisper—he sought new commercials representation, springs back to life and flies off. signing with Über Content nearly a year ago (SHOOT, 5/11/07). Succeeding graphics read, “Music Is Life” and “Zune is Music,” followed by Hendler made his first major industry splash after graduating from film the Zune logo. school at USC when he directed the short film One, which took home the Audi- The 30-second spec spot ends with the boy quietly continuing his walk. ence Award at the Sundance Film Festival. That honor catapulted Hendler into the ad world, eliciting interest from Omaha Pictures, which he joined. His early Departing from the norm work gained recognition at not only SHOOT’s New Directors Showcase but also Titled “Music Is Life,” the spec ad was conceived, directed, shot and edited Y&R’s Young Guns competition, the Clio Awards and the Cannes Ad Fest. by Hendler whose spotmaking home is Hollywood-based Über Content “You see a lot of music spots these days that are very ‘in your face’ and high energy,” said Hendler. “But the challenge here was to do something a little Client Microsoft Zune (spec spot) Agency Stewart Hendler, more subtle, that spoke to the power of music on a more basic level. This prod- creative Production Über Content, Hollywood Stewart uct category of advertising, with its highest profile work being for Apple’s iPod, Hendler, director/DP; Phyllis Koenig, Preston Lee, executive tends to be bombastic and big. My idea was to go in the opposite direction and producers; Steve Wi, head of production. Editorial Stewart try to find the gravity of a very small moment.”” Hendler, editor Sound Design Colbert S. Davis IV, sound Hendler also sought to contrast the initial downcast inner city with the up- designer Music Human, bicoastal beat prospect of reviving a tiny living creature. “I went for a slight melancholy in the beginning of the spot, an uninspiring backdrop for this kid’s world in which an unexpected moment of redemption takes place.” Hendler’s support team at Über Content included executive producers Phyl- lis Koenig and Preston Lee. Head of production was Steve Wi. Hendler lensed credits Zune takes us from bye-bye to hello birdie the spot with the Red One digital camera. Sound designer was Colbert S. Davis IV, a friend and colleague of Hendler. Music for the spot came from bicoastal original music and sound house Human. Score Hendler noted that the musical score “needed to be the emotional foundation for the spot, starting small and melancholy but then growing into some- #,)#+(%2%4/6)%730/4 thing uplifting in just a few seconds. Human came

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March 14, 2008 SHOOT 13 iSpot Motion Graphics Extend AKQA Video Ad For Nike; Kobe Bryant Shares Secrets Jesse Dylan directs innovative basketball piece which takes us into the game’s inner strategy

By Ken Liebeskind Utilizing a professional basketball player is a common way to sell a sneaker. But getting the player to discuss his playing strategy in detail is quite atypical, par- ticularly a superstar like Kobe Bryant of the Los Angeles Lakers. Such public disclosure is an aberration almost as unusual as Wilt Chamberlain’s historic 100 point game. In a recent campaign for the Nike Zoom Kobe III targeting consumers in the Asia Pacific market, digital agency AKQA/San Francisco created a video ad that offers numerous opportunities to click for added content, which is con- versation from Bryant about his strategic approach and philosophy. One Move Ahead Kobe III plays at www.nikebasketball.com. “When you prepare, you’re able to anticipate what’s gonna happen before it happens so it makes you look a little quicker than you actually are,” Bryant says #,)#+(%2%4/6)%730/4 after one click. “Kobe talks about his visualization plays and how he anticipates his oppo- One Move Ahead Kobe III nents to stay one move ahead,” said Neil Robinson, AKQA’a creative director. Meanwhile, the video shows Kobe moving to the hoop amidst a group of op- featured live-action sequences of the game and separate interviews with Bryant posing players. that were used as the motion graphics sequences. AKQA constructed the Nike website to play three versions of the video at Dylan shot on film with a Photosonics camera. The interviews were lensed three different speeds, real time and two slower speeds, including Explore, the with a Red-One digital camera. slowest version, which allows users to see motion graphics that can be clicked The website went live in late January and is the only current advertising for to get the additional content. the Nike shoe in the Asia Pacific market. To keep pace with the rapidly changing “With the real time version, users see the game like a spectator sees it, but the “There’s no TV airing now, but we’re in the process of creating TV now,” world of broadband video advertising slowed down versions are like Kobe, because he sees things other players don’t Robinson said. read iSPOT every Wednesday. see,” Robinson said. The slowed down version gives the audience the luxury of The use of the motion graphics elements to show extra content is emblem- www.shootonline.com/go/ispot being able to view the intricacies and subtleties of the game—to be able to read atic of AKQA’s recent efforts to extend broadband video content. For example, the opponent and anticipate his every move—as Bryant does. viewers of Fly Through, a film for the Microsoft XBox Halo 3 game, can use The motion graphics, black and yellow boxes that include phrases such as “My arrow keys to drag scenes of the film forward or back to examine figurines in a Split & Drive” and “Baseline Fade,” are situated at different intervals during the diorama of a fight sequence. Viewers of My Game, a series of films for Nike, can video. “The motion design team was on hand when we click to get additional content on National Basketball Association (NBA) star Client Nike Asia Pacific Agency AKQA, San filmed it and the placement of graphics was determined Lebron James, such as shots of Akron, Ohio, James’ hometown. James plays for Francisco Neil Robinson, creative director; according to the way the director framed things,” Rob- the NBA’s Cleveland Cavaliers. Steve Tornello, senior writer; Caio Laz- inson said. They were created in Flash, “which lets you “How the web can display this stuff is a challenge for us,” Robinson said. zuri, art director; Charles Duncan, senior pause and bring in extra content on top it,” and finished “Our skill set is to think it through from an interactive point of view. We’re not developer; Antti Kupila, Austin Ellis, flash in After Effects. just trying to emulate offline agencies. We’re trying to think of it as an interac- developers; Chris Conrad, Simon Jefferson, Jesse Dylan—who directed the video via Form, the Los tive piece, so that’s why we used the graphics.” Angelina Muffelletto, Andrea Bustabade, Angeles-headquartered production house in which he Dylan is no stranger to helming content for the web. In addition to his producers; Jonathan Yuen, designer; and executive producer Craig Rodgers are partnered— mainstream TV spotmaking, he has a track record which includes such work Production Company Form, Los Angeles said that AKQA figured out a time line for the video that as Snickers’ five-webisode Instant Def series for BBDO New York and Admo- Jesse Dylan, video director; Richard Devine, included the motion graphics sequences, “and we shot sphere BBDO, New York. The series debuted in 2006, breaking new ground.

credits sound designer along the time line and they condensed it to use the pieces Intant Def starred the Black Eyed Peas as Snickers factory workers by day and where they wanted.” Dylan shot the main video, which superhero defenders of old school hip-hop music by night.

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A Precious Spot Directorial Signing For MRB Productions

BEVERLY HILLS, Calif.—Director feature film based on Weetzie Bat, tasy like version of Los Angeles that’s As for Precious’ aforementioned cusation—impacts a girl’s life in high Lori Precious, formerly of ka-chew!, a novel authored by Francesca Lia a cross between the punk rock scene documentary exploits, she is pitch- school and beyond, and will consist Hollywood, has joined MRB Produc- Block. The book, a popular piece of of the ‘80s and the glamorous Holly- ing a series based on the book Fast of real people interviews, as well as tions, the Beverly Hills-headquar- young adult fiction, was published in wood era of the ‘50s. Weetzie is grant- Girls: Teenage Tribes and the Myth docudrama treatments of the topic. tered house headed by president and 1989, with Precious recently securing ed three wishes in Shangri-L.A. and of the Slut by Emily White. The Director Nicole Holofcenter (Friends CEO Matthew Brady. the movie rights. The title character, finds out that their outcome doesn’t project will explore how the stigma With Money) is attached to helm one Precious brings an extensive spot- Weetzie, lives in Shangri-L.A., a fan- coincide with her expectations. of being a slut—even if an untrue ac- of the segments. making pedigree to MRB, which includes much work targeting the youth demographic, ranging from kids to tweens to teens as reflected in commercials for Mattel (both client INTRODUCING direct and via Ogilvy & Mather, Los Angeles), Burger King (via Campbell- Mithun, Minneapolis) and a recent Baby Born “I Can Swim” campaign for MGA, which brings a Busby Berkeley-esque choreographed look to the toy ad genre, with action un- folding to the accompaniment of a peppy version of Blue Danube. NEW CONTENT. NEW DELIVERY. NEW DEVICES. NEW OPPORTUNITIES.

Advertising, design roots On screen. On air. Online. On the go. And, more importantly, right On Target. Precious’ advertising sensibilities That’s Content Central, the new multi-platform content and entertainment experience located in are grounded in agency creative and the Central Hall at the NAB Show. Immerse yourself in every stage of the content lifecycle, from design experience which eventually creation through delivery, and quickly come up to speed on the latest content outlets, from mobile led to her being a live-action/multime- screen to big screen to small screen to no screen and beyond. dia director. She began her career as a graphic designer, eventually working for all the major Hollywood studios designing movie one-sheets. Precious then served as creative director/VP at Southern California agency Diener The Content Central experience features: Hauser Bates overseeing NBC’s mov- ★ CONTENT THEATER ie and mini-series advertising. Later Discover how some of the top fi lmmakers use new technologies to make stories come to life. Every session explores new ideas in 3D, she worked in graphic design and cre- Animation, Visual Effects, Digital Workfl ows, Broadband or Mobile. COMING SOON: ative capacities at the former Jacobs & Gerber Advertising, Los Angeles, where she diversified into directing spot promo work for that agency. Her directing endeavors over the years encompass music videos (for

Warner Bros and Sony Records), Stereoscopic 3D Program, brought to you by youth and pop culture-oriented com- mercials, promos and show opens, For the full Content Theater schedule, visit www.nabshow.com with documentary and feature proj- ★ IPTV Pavilion ★ Mobile Solutions Pavilion ★ Content Distribution Forum ★ Leading Companies in ects currently in development. What’s hotter on the horizon than While screens keep getting Four days, four interactive case Content Central Include: this medium? If you’re looking smaller, mobile’s reach keeps studies on the trends, possi- for a turn-key solution, or just a getting bigger and bigger. The bilities and challenges of content Wide range component, get the latest word on potential is enormous and that’s distribution. Tracks include: Precious said she was drawn to this new delivery platform. reason enough for you to invest • IP Video some time in this exciting forum. IPTV Offi cial Media Partners: • Mobility MRB’s multi-disciplinary bent, which • Video Outside the Box spans commercials, promos, TV and • Into the Digital Home features. MRB’s long-form chops in- Co-produced by: clude co-producing its first theatrical Sponsored by: feature, I Trust You To Kill Me star- ring Kiefer Sutherland, and producing the currently running VH-1 TV series Free Radio. Commercials remain an MRB mainstay as the shop recently wrapped Sprint’s “Ring of Light” campaign out of Goodby, Silverstein free access & Partners (GS&P), San Francisco, Experience Content Central, along with the rest of the directed by GS&P creative director NAB Show’s massive exhibit hall, for FREE! Register online Randy Stowell. Additionally, MRB at www.nabshow.com using Guest Pass Code A587. produced the Monday Night Football opens this past season for ESPN. Precious joins an MRB roster that includes Mark Teitelman, Jamie Bab- bitt, Brian Ades and Branson Veal. On the alluded to long-form score, Precious is looking to direct an indie March 14, 2008 SHOOT 15 EDITING & POST

The Tool Shop

Editing & Post Stephen Buchsbaum, CEO, The Post Start 2 Finish Family of Companies (Hollywood): Run- Artisans Discuss way, The Post Group, Novastar, Lightning Media and iO Film

Tech Solutions, 1.) Our clients increasingly ask about tapeless work flows. We’ve answered that demand by utilizing Look Ahead Facilis’ Terrablock storage solution. It allows us to share content from Clipster, on line SD and HD media To NAB Confab from FCP and Avid, as well as color corrected and dust busted material. While we’re conforming the offline ma- terial, we can continue color correction and DRS on another machine while A SHOOT Staff Report that same media can also be used on yet another machine to cut a trailer from. It’s proven to be an efficient time saver for our clients.

2.) Since we’re looking more towards facilitating the increased interest in tapeless work flows, we’ll be looking at storage platforms. We’ll also be look- ing at software and hardware for digital intermediates.

Jon Hopp, editor/owner, Jigsaw Editorial, Los Angeles

1.) The main new client request is to offline in HD. Oddly enough it’s Asked to look into their own tool box and the one emerging at the upcom- not the commercial folks asking. We ing National Association of Broadcasters (NAB) convention, editorial and (Jigsaw) re-tooled our entire facility post house artisans as well as execs were surveyed by SHOOT on two prime this past summer so that we can eas- fronts. The queries were: ily edit, monitor and output at 1:1 1. What, if any, new tool or technologies are you utilizing this year to bring HD resolutions in both Final Cut creative solutions to client’s projects. What, if any, new tool or technologies and Avid. Offlining in HD seems to are your clients asking about? be a creative solution for the lower 2. If you are planning to attend NAB in April, please discuss what tool or budget projects right now, short technology you anticipate and look forward to seeing on the exhibit floor films and videos, where they want to output directly from the Avid or Final and why? Cut systems in HD with little or no online. We are not seeing much demand for this in the commercial arena yet. Commercials are continuing to shoot Here’s a sampling of the feedback we received: film and finishing HD. Unfortunately for commercials, most networks are A March 14, 2008 SHOOT 16 EDITING & POST

requesting that non-HD content Dynamic Range (HDR), removal Gong Myung Lee, CG supervisor, adding extra geometry. Roadkill, a be delivered as a center cut extract storage technologies, which allow Charlex, New York free plug-in for Maya, has been a life from the HD master itself, effective- our finished product deliverables saver for our intricate UV mapping, ly making the area outside the 4x3 to connect directly into their pro- 1.) Our modeling process has been polygon texturing process. PFTrack format “filler” space. I look forward duction environments versus that enhanced with the addition of Pixo- by The Pixel Farm has been a nice to the end of 4x3 programming so of traditional data or video trans- logic Zbrush and Autodesk MudBox. addition to our animation work- that we can better utilize and frame fer means; encoding solutions, and Not only is Zbrush a great tool for flow which increasingly deals with properly in the 16x9 aspect ratio. GPU-based or integrated solutions. creating textures, but also for creat- geometry tracking and 3D integra- ing normal maps which enables us to tion onto live footage. We have also 2.) I am not really planning to add detail into our models without Continued on page 18 attend [NAB] this year but I antici- pate the biggest excitement will be about open architecture media and improvements in shared storage. Final Cut really started this trend, it seems logical and practical for oth- ers to adapt to this thinking. Eventu- ally media will and should be easily accessible for all types of software from a single storage unit.

Robert Keske, CTO, Nice Shoes, New York

1.) Our clients have been asking us to simplify and expedite deliver- ables, Podcasts and Flash versions allowing mobile interaction dur- ing the production process. This has been a hot topic given that we have been concentrating on image, and sequence formatting tools and technologies enabling simultaneous compressed and non-compressed deliverables. We are continuing our evaluation of the current technolo- gies. Remote creative suites--having the ability to work with our artists remotely--is also of interest. Custom- ers want solutions that allow them access to all of our creative suites and tools both in interactive and non-interactive ways. Other areas we’re concentrating on are content virtualization tech- niques that can create and distribute deliverables either as foreground or background process. It’s really about time, a better back office manage- ment system, and the faster project turnaround with the highest quality deliverables(s). Also of importance is continued integration of our tools into www. nicespots.com that extends clients’ abilities regardless of where they are.

2.) Solutions that include High March 14, 2008 SHOOT 17 EDITING & POST

Edit and Post Perspectives On New Technology, Upcoming NAB

Continued from page 17 Michael Raimondi, president/executive producer, greatly improved the integration of Next Limit’s Realflow into our pipeline with customized Union Editorial, Los Angeles scripts and collaborative R&D efforts with Fusion CI Studios, allowing us to produce complex fluid simulations and rigid body dynamics. 1.) For us this year the HD boom has finally arrived. Being a finishing house as well as an editorial company creates unique challenges. Like all “new” technology, the road to full HD compliance is not cheap. We started A Midwest Operations POV by renting the HD equipment we needed all the while waiting for the D5/HD Cam wars to sort themselves out Knox McCormac, director of operations, Optimus, Chicago before purchasing. We quickly realized that the conflict For the past year we have been witnessing a change from traditional film based production to was not coming to a swift conclusion and we purchased finishing from elements that are tape or file based. Film is still used in the majority of our jobs but new a D5 deck along with monitors and scopes. This solved formats or means of acquisition seem to pop up weekly. It has been difficult keeping ahead of tech- the majority of our finishing needs but the editorial side had its own challenges. Now that there nology. Panasonic P2 is a great example of a new format we have seen more and more. P2 formatted are multiple cameras and formats, we are consistently being drawn into the production process material shows up at our door as files on hard drives. We have had to search for new tools that enable as a technology consultant helping the production company and agency find the best and most us to convert these files into a usable format that will fit into our current workflow without rebuilding cost efficient pathway to finished product. We are predominantly an Avid shop but we have our workflow from scratch. also purchased some final cut HD systems to deal with cameras that lend themselves to final cut But that’s not to say that our workflow is not going to change. Our clients are asking for more op- digitizing. The formats and camera specs are dizzying and it has required our producers to learn tions everyday. More versions, more formats, more choices. With the traditional film transfer model a whole new set of protocols. The days of blindly sending out specs are long past. A post facility we are limited by the constraints of the telecine and the hardware-based color correction. We have must be nimble enough to perceive the subtle differences between formats or risk getting media started to rebuild our color correcting workflow by installing a BaseLight color corrector. BaseLight that at worst is unusable and at best expensive to convert. falls into the software color correction category. With this technology we first digitize the film to hard disk. With the material in a computer we can now color correct in edit order even if the edit changes 2.) The purchase we will be adding this year from NAB is, no surprise, an HDSR deck. The mid-session. Also given the fact that the color correction is software-based, our toolset is not tied to demands of clients needing masters on time and with the correct specs makes renting such a hardware or one vendor. Through plugins third parties can bring their creative expressions into the critical piece of the puzzle too dangerous. We are also getting more and more HD dailies on color correction world, enabling us to provide our clients with the product of their vision. HDSR tape. Renting decks to load dailies or down converting has become prohibitively costly and inconvenient. HD, multiple platforms The Chicago market was one of the last to embrace HD finishing. We have seen more and more finishes in HD lately. The consumer market has also seen a growth in HD with the availability of rea- Ethel Rubinstein, president/COO sonably priced large HD displays. Unfortunately the technological advancements in the professional Bluerock, New York video displays have not advanced as rapidly. This has not stopped our clients from asking for larger monitors in the graphics and editorial suites. Our clients want to work from the same size displays 1.) Technology is continuing to converge in intriguing they have in their homes. We are actually stalled using the same size displays we have been using for ways. This year our editors are applying groundbreak- almost 20 years. Replacing our display with consumer displays is not an option because they are not ing uses of 3D and 5.1 surround sound technologies to able to reproduce the quality we need to provide our clients with the best product. This is one area our client projects. For example, in conjunction with our we are waiting for manufacturers to catch up. sister company Spontaneous, Olivier Wicki at Bluerock Finally with all of the many devices we have to watch video on like ipods, computers, cell phones recently completed U23D--the first ever 3D concert film. and game consoles to name a few, we are being asked to deliver our clients’ products to all of these To create the 3D look, we used advanced technology de- devices. We are having to find methods to take one master and deliver all of the formats necessary veloped by 3ality Digital and brought to bear an artistic without starting from the beginning. New encoding hardware is being evaluated to optimize the agility to the project. workflow. If necessary, custom software is being developed in-house to fill in the gaps the manu- facturers have left unfinished. With the rapid advances in technology, we are having to look for 2.) I’m planning to attend NAB and at the show we will be scouting for the most advanced manufacturers that can react as fast as the technology is developed. HD monitors available today. While we use state of the art monitors, and our editors and artists are skilled in leveraging HD technologies, we are looking for HD monitors that more accurately Looking Ahead to NAB reproduce the image our clients see at their film transfer, and minimize the issues of banding, We cannot miss an opportunity to discover new tools or talk with the many talented developers black level and viewing angle. at NAB. This year we will be paying close attention to all of the display manufacturers. It might seem Ultimately for the HD creative process to work properly, we need our clients to view the work like a trivial concern with all of the compressed delivery methods but showing our clients the best on monitors that accurately convey the clarity and definition of HD. In particular, we need a possible image is a necessity. In our current workflow the available display choices are one of the replacement for the present LCD technology: SED (Surface Conduction Electron Admitter) weakest areas. Sony is now delivering their new 23” LCD professional monitor and at this year’s NAB displays may be the answer. they are supposed to be showing the larger version of this monitor. We will spend time talking to all of the encoding manufacturers. We are trying to find more effi- cient methods to deliver any possible format for our clients. Companies like AnyStream, TeleStream, Dean Winkler, executive producer/CTO, Root6, and Digital Rapids are some of the few that we will be visiting. Also on the encoding front Crossroads Television/89 Editorial, New York we will be looking at all of the possible methods to create Blu-ray DVDs for client approval. Today we create tons of standard definition DVDs but are being asked when we can deliver an HD spot on 1.) While not bleeding edge new, the marriage of film DVD for approval as efficiently as we can the standard definition ones today. and video has become more filled with love. Specifically, Large data storage systems will take up some of our valuable time on the show floor. Our workflow it’s become unthinkable to finish a film, even a low bud- is changing to include more and more data files. Instead of constantly moving on and off tape, we get independent feature, without going through a digital are acquiring media as files on hard disks. We need a system to reliably store and retrieve this media intermediate. Electronic image acquisition though not at a moment’s notice. Companies like Quantum, StorageTek, Sony, DDN and IBM manufacture the the same as film, has made tremendous strides. Client hardware and software to build large asset farms to replace our traditional tape-based libraries. interest in the film vs. digital topic has so strong that we Adobe and Apple have made great inroads into our workflow. We rely more and more on the shot a 35mm vs. digital test on one of our sets as an ongo- non-realtime graphic creation toolset found in AfterEffects. And even though Apple has pulled out ing educational tool. Finally, the 24 fps post production of this year’s NAB, I am sure Final Cut will still be well represented in many third party booths. We workflow has gone from being exotic to mainstream. will spend some time looking at any improvements available to help with the creative process using these applications. Any tool that can help increase the efficiency using these products and tightening 2.) I’ll be looking to see how much blank space there will be on the exhibit floor. (Remember up their integrating within our facility will be on our radar. when Ampex had the biggest both at NAB?) That, and to see if anyone else is planning to have At NAB we will try to discover the next tool that will bring our clients’ ideas to reality. a big party on February 17, 2009, to watch NTSC television broadcasting shut down forever.

18 SHOOT March 14, 2008 LATIN AMERICA

Coming Of Age

The Latin American ad market has risen both quantitatively and qualitative- Filming ly—the latter underscored by Marcello Serpa, partner/general creative director As for the alluded to quantitative barometer, in recent years Latin America Latin America of AlmapBBDO, Sao Paulo, Brazil, recently being named recipient of Clio’s has seen substantive growth as a filming location. Per the Association of Inde- Lifetime Achievement Award. While it’s a bit curious for such an honor to pendent Commercial Producers’ (AICP) fourth annual Survey of the Commer- be bestowed upon a man who’s only 45, in the prime of his creative life, the cial Production Industry covering 2005, Central and South American locations Grows In Quality accolade is most deserved when you look back on Serpa’s accomplishments. experienced the largest growth in foreign filming activity by AICP member In this week’s Chat Room Q&A column, Serpa cited as a career highlight his companies. The independently conducted study found that whereas Central becoming the first Latin American to win the Grand Prix at Cannes, for a 1993 and South America accounted for but 12 percent of U.S. production house for- And Quantity campaign on behalf of Antarctica soft drink back when he was at Brazilian ad eign shoot days in 2002, that figure increased dramatically to 28 percent in ‘05. shop DM9DDB. While that tapered off a bit to 26 percent in the latest AICP survey covering Serpa observed that the Grand Prix win was significant “because it gener- calendar year ‘06, the big picture growth has been remarkable. A SHOOT Staff Report ated attention for all of the And the projects coming Latin American community. to Latin America are high TPeople around the world profile, a prime example be- started to notice Brazil and ing Monster.com’s “Legs” di- we’ve built ourselves from rected by Rupert Sanders of there.” bicoastal/international MJZ As for the state of Latin for BBDO New York. The American advertising today, creatively ambitious shoot he related, “The market came to Buenos Aires, with is coming of age. It’s not production services pro- just Brazil doing well but vided by Benito Cine, the Argentina, Mexico, Chile shop in Argentina under the and Peru. There are good aegis of executive producer creative people throughout Georgos Nicolaides. Benito the region—young people Cine is part of the Global with new, fresh ideas; new Production Network (GPN) talent that is trying to make roster of production service a difference. It’s a powerful companies worldwide. GPN market. is headquartered in Los An- By contract, 15 or 20 years geles. ago, creative performance The offbeat ad opens on a was spotty. Once in a while guy who gets out of bed, pre- you’d see good work from On location in Buenos Aires for Monster.com’s “Legs” sumably to go to work. As he Brazil but it wasn’t consis- walks through a charmingly tent. Now we’re consistently seeing good work all through Latin America. quaint, picturesque village, the camera reveals him to have massive legs that “The problem we’ve always had—which was even more prominent years dwarf the rest of his body even though he himself is a big man. We see him ago—is that we don’t often have big budgets. But we’ve learned to turn that pass villagers from all walks of life, some engaged in mundane tasks, others in into an advantage. Without big budgets, you’re forced to be simple and fresh. more significant endeavors such as a young couple who just got married and are You don’t have Hollywood behind you so you have to rely on simple and easily celebrating. Our large-legged protagonist briefly joins the celebration before executed ideas. And clean, fresh ideas work well in print, TV and the Internet. continuing on his way. Local budgets are still rather tight. Yet we do have many international compa- He then arrives at what looks like an isolated shed in the middle of a field. nies coming to Latin America to tap into our creative talent and those budgets He enters the makeshift structure, which we discover houses a rickety eleva- are a bit larger. tor that he takes down to what seem like the depths of the earth. As the el- Continued on page 20 March 14, 2008 SHOOT 19 LATIN AMERICA

Internationally Lensing On The Rise In Latin America Speaking Continued from page 19 Los Angeles. Notorious and Japan evator descends rapidly, he holds his house Robot were production com- By Massimo Martinotti ears in discomfort due to the jarring panies on the job, with production drop in altitude. The elevator door services provided by Red Creek Pro- opens, placing him in what looks like ductions, Buenos Aires. Creative resources in a mineshaft. He walks through the The January shoot took place in the shaft catacombs and finally arrives at streets of Buenos Aires, where Red Latin America his destination—an elaborate, larger Creek assembled a large-scale traffic than life gyrosphere contraption that jam over the course of three days. The In the last few years a growing number of projects have been pro- centers on another man who’s seated City of Buenos Aires provided full co- duced in Latin America. This is due to two basic reasons: the pro- upon a bicycle and peddling away fe- operation with street closings and the duction costs in several countries such as Argentina and Brazil have verishly. He too has massive legs and proper permits. dropped signifi cantly because of a chain of devaluations of Latin is glad to see the relief shift coming to Ivan Entel Red Creek co-president Ivan Entel American currencies and simultaneously the industries in the region take over his duties. and production designer John Beard exec produced the Honda job. His became more and more sophisticated. Commercials produced for For a moment he stops peddling so “went deep inside Buenos Aires exec producer counterpart at Notori- very little amount of money in some Latin American countries consis- that his replacement can take over. where they found a workshop full of ous 24/7 was Neale Ferguson. Tim tently win prestigious awards, therefore making Latin America evolve When the peddling comes to a halt, special old objects, an enigmatic town Nolan and Rafael Chinchilla were from a cheap location to a source of powerful creative resources. so too does the power throughout built in the middle of a poor suburb producers, respectively, for Notorious When 15 years ago, sitting in my offi ce in Miami, I decided to as- the village. The abrupt nature of this and real, real people. Rupert wanted 24/7 and Red Creek. semble a network of production companies in Latin America, I knew transition jostles about a man taking to do everything in camera. We built Asked what the biggest production that the real challenge was to fi nd the right persons in every one of a bath as water jumps out of the tub, the gyrosphere with the huge rotat- service challenges are when work- the countries where I wanted to operate. knocks another gent off his bike as he ing rings, the volcanic tunnel, the el- ing with a U.S. production house on I needed not only talented, experienced and reliable professionals was riding through a field, and causes evator and the crazy bike for Mr. Big a shoot in Latin America, Entel ob- but fi rst and foremost people with the right mind set: the ability to the bride, groom and rest of the wed- Legs. The legs came from [renowned served, “Choosing the right local part- work as a team with other people based thousand of miles away, with ding party to topple just as a camera is creature creator] Stan Winston, an ner is the key. With the right team a diff erent culture and speaking diff erent languages. International taking a picture of them. amazing job.” you can do anything. Working with a operations require adequate organizations; even if it is possible for Our original large-legged chap then The shoot went from Nov. 27 to local production company that knows every production company, no matter how small it is, to go and shoot begins peddling and in the process re- Dec. 1. The DP was Greig Fraser. production, that knows their own anywhere in the world, an internationally organized one will be able turns the village to normalcy. turf and that knows the meaning of to fi nd a wider spectrum of options, get better deals and manage the A message appears on screen, Traffic jam service is the only way to have a great project more safely. which reads, “There’s a perfect job Meanwhile, in sharp contrast, the experience. Having the headquarters of our company in Miami and operat- for everyone,” followed by the Mon- urban side of Buenos Aires came to “The challenge is bridging the ing internationally in Latin America yield several advantages. First ster.com logo and the slogan, “Your life—or more accurately, a stunning cultural gap, and the choice of local of all, we have access to the best agencies in several countries and calling is calling.” halt—for a Honda commercial out of production company is probably the therefore we are exposed to a very wide spectrum of brilliant creative For the “Legs” shoot, Nicolaides Tokyo agency Hakuhodo directed by biggest piece of the puzzle for a U.S. ideas with a variety of cultural fl avors. In second place, the multina- said that director Rupert Sanders Brent Bonacorso of Notorious 24/7, company shooting in Latin America. tional aspect of our operation engenders a very powerful energy that Unions, permits, customs, rules and stretches well beyond the countries where our offi ces are located. A habits should work for the project, network puts together the knowledge, the experiences and the re- not against it... and that is basically lationships of people working in diff erent countries and this has a in the hands of the local production strong multiplier eff ect. company. Choose wisely and budget, Our offi ce in Argentina, for instance, has the experience shooting crew, locations become assets, not in Chile, Uruguay and Brazil while our producers in Costa Rica are very problems. It can be an exhilarating good in handling productions in Panama, Nicaragua, Belize or Gua- journey if the local production com- temala. pany is able to provide a sense of com- Finally the fact that we consistently work in many countries helped fort, a place for the American crew to us to develop a global way of thinking, which consists of approaching thrive and take creative risks. Choose every project we undertake with an open mind and reinventing the wrongly and it can quickly become a process every single time. massive headache.” This is especially important at a time when the production compa- nies are becoming more and more multidisciplinary and need to work American infusion with a wider spectrum of creators to produce, design, invent and con- Benito Cine’s Nicolaides noted, ceptualize multiple forms of content and develop new media. “Most of the important U.S. produc- In this fi eld, once more, Latin America off ers enormous advantages: tion companies have been coming we are hiring programmers in Costa Rica (one of the leading software to shoot in Argentina during the last developing countries in the world), designers and directors in Argen- seven years, and some very often... tina or Brazil, musicians and scriptwriters in Mexico and, by doing so, Like in any relationship, there are we are expanding our horizons and taking advantage of the creative many reasons to like each other and resources available in the hemisphere. also many things to learn. The good thing is, when U.S. producers, direc- * * * tors and local people communicate, amazing and creative things have Massimo Martinotti is the president of MIA Films, a production compa- been achieved. ny based in Miami with offices throughout Latin America and associate “For me the most important thing offices in Europe. He is also a member of the board of directors of the in all areas is to know exactly what’s Association of Independent Commercial Producers as well as president doable in Buenos Aires and what’s of the AICP’s Florida chapter and chair of the AICP.next committee. The not.” Nicolaides then offered some latter was launched in 2006 to help develop new business models that tips along these lines. For example, he production houses and the industry in general will be working under in assessed that there are capable special what is an evolving era of advertising and marketing communications. effects people in Buenos Aires, much “Legs” On Location better than in all South America. But 20 SHOOT March 14, 2008 LATIN AMERICA

if an effect is even difficult to be pro- duce the job... Better to solve this situ- duced in the U.S....”please don’t try to ation before everybody is here and come to do it in Buenos Aires.” the problem is for real and with not CLASSIFIEDS In terms of crew, he noted, that many solutions.” To place classified ad simply email ad there are many good DPs in Argen- There’s a wealth of locations and copy to: [email protected] POST FACILITY FOR SALE tina, “but we learned normally you talent throughout Latin America. In Your reply will contain price estimate and should bring one...It’s just different Buenos Aires, there are 10 million PDF proof of ad for your review. NEW YORK POST FACILITY FOR SALE the way they shoot.” people and a large proportion are Eu- Print classifieds run online for 30 days Premiere HD and Film Boutique Post House is now open to proposal bids for As for assistant directors, there are ropean immigrants. There are many as FREE bonus with email distribution on SHOOT purchase. Centrally located to Penn Station and all major subway lines, the over high quality ones in Buenos Aires that Caucasian-look options, and quite a >e.dition and iSPOT. 6,000 square feet facility has recently grown to include a Soundstage to ac- can bring a lot to a project. But, Nico- few acting schools turning out very For further info/rates/deadlines go to commodate it’s new production division. Split over 2 floors, the facility houses laides cautioned, “never expect the capable performers. www.shootonline.com/go/classified on its main floor, three HD Online Finishing Suites and a Digital Intermediate local A.D. to put hard pressure on a Nicolaides noted that “nice look- Suite that boasts advanced color correction. Audio Post includes two 5.1 Audio U.S. director, it’s just a cultural thing... ing people and high-end models” are EMPLOYMENT Rooms with a live room for each. On it’s second floor, the Soundstage includes a The line producer will have to do that on hand. The trickier proposition, Green Room & Dressing Area. The stage itself has a two wall corner cyclorama. It also houses a full lighting package, grip package, HD cameras as well as an job. By the way, always bring a line though, if to attain the wide range of Head of Sales (preferably NY based) wanted for medium-sized, west coast advanced virtual set solution. Past and current clients range from Network and producer...It’s better for the agency, ethnic diversity that many U.S. com- production company. We are an estab- Cable Television, Commercials, Corporate Work, High End Artists and a wide for the director and for us.” mercials seek. lished company looking to grow and seek range of Production Companies. On the budget score, Nicolaides “That’s a real challenge,” he the motivated person interested in being Qualified Buyers Only said there are lessons to be learned. said. “In the end we have to make it a part of it. Please send bio or work his- tory to [email protected]. [email protected] “Argentina is cheaper than the U.S., work, but everyone has to be a little Contact: especially because of talent buyouts. flexible” due to a limited number of REP SERVICES TECHNICAL SERVICES But don’t try to save even more mon- Asian and African-American options. ey than what’s reasonable...There will But it you look at a noteworthy X-box Leading NYC Rep Company always be a local company saying yes, commercial recently shot in Buenos Expanding Roster! TECHNICAL OPERATIONS, INC but you risk having to pay many over- Aires—directed by Tim Godsall of Very connected commercial rep co, seeks •Maintenance Services for Broadcast and Industrial A/V Equipment ages and still have a bad production... Biscuit Filmworks, Los Angeles—65 hot directors for east coast representa- • System Integration • Multimedia Services/Manpower • A/V Rentals I know U.S. cost controllers put on lots performers were selected that made tion. Directors must be unique in style •Free Pickup, Delivery, and Loaners Available and have excellent reels. Must be affili- of pressure. They don’t care because the piece look like it was cast in New ated with a production company. 454 West 41st Street • New York, NY 10036 http://www.tech-ops.com they are not coming with the rest of York, London or any metropolitan www.robrussoproductions.com (212) 465-1318 • Fax: (212) 465-2318 email: [email protected] the agency and the director to pro- city with lots of diversity.

March 14, 2008 SHOOT 21 News

Moseley Discusses Move To HMD&G

Continued from page  life and can sometimes as a result get ters make their way along a country more done. With fewer layers and Joel Rodriguez, formerly of Goodby, Silverstein & Part- road, each one thinking—in brightly levels of people, you can move more ners, San Francisco, has joined 180 LA as creative director. colored holograms—about their in- rapidly and be more nimble.” At Goodby he focused on all media and digital projects, dividual auto choices from “shiny” working on Sprint, HP, Hyundai and Comcast....Editor Jeff to “turbo” to “babe magnet.” The Ground floor Landsman, formerly of Outsider, Chicago, has joined Chi- characters then wind up at an Oz-like Moseley has been spending much cago-based Foundation, reuniting him with former Red Auto Trader complex where they at- of his time creating a vision for “an Car colleague James Lipetzky, co-owner of Foundation.... tain vehicular nirvana. exciting brand” which he wasn’t Live-action directorial duo The Docter Twins—Jason and The other two Auto Trader yet at liberty to publicly identify as Matt Docter—has come aboard DUCK (formerly anima- spots—yet to debut on air at press SHOOT went to press. The new pend- tion house Duck Soup Studios), Los Angeles, for exclusive representation. The Docters are slated to take on their time—explore other parts of this ex- ing HMD&G client represents an en- first project at their new roost—a series of four comedy pansive world. One takes us under- ticing aspect which drew Moseley to spots for Wienerschnitzel out of agency DGWB, Santa Ana, Calif., water where we encounter fish-cars. Al Moseley the agency. working in tandem with DUCK’s animation team....Los Angeles- The third commercial features a gi- line world, to make 3D characters “To be in on the ground floor of based director Jamie Sterba has gained representation and produc- ant car zeppelin in a city setting. they can own online,” he continued. shaping an advertising agency by se- tion support in Canada via an association with Sparks Productions, Marked by a light-hearted sto- “We’re also implementing viral ideas curing the right like-minded clients is Toronto....Douglas Wilkinson has joined bicoastal design/VFX/ani- rytelling touch, the campaign was where people can remake characters a great thrill. One of the many great mation/live-action studio Buck as visual effects supervisor. His expe- directed by Aaron Duffy of Spe- in their own style.” things about Wieden is while we had rience includes tenures as a freelancer and on staff at such shops as cialGuest, a recently formed sister Among the HMD&G contribu- very few clients, they were all great SWAY Studios, Culver City, Calif., and Digital Domain, Venice, Calif. company to the New York-head- tors were creative director Moseley, clients. And you need great clients to Among his most notable spots are Hummer’s “Video Game” directed quartered computer-generated im- copywriters Steve Dunn and Shaun do great work. by Joseph Kosinski of bicoastal Anonymous Content for Modernista!, agery/visual effects/animation stu- McIlrath, producer Zoe Barlow and “There are so many talented cre- Boston, and Heineken’s “Beer Run” helmed by David Fincher of Anon- dio 1st Avenue Machine. planner Jamie Inman. ative people in this business, many ymous Content for Wieden+Kennedy, Amsterdam...Karol Marrs has SpecialGuest, a Manhattan-based who come up with great thoughts been promoted to executive producer at bicoastal Moxie Pictures. She had been head of production at the company for the past four house which specializes in varied Transition and ideas,” Moseley continued. “But years. She first worked with Moxie CEORobert Fernandez at his prior organic animation techniques and The move to HMD&G marks Mose- without the right partner, you can’t roost, @radical.media.... styles, did the character animation ley’s return to the U.K. Prior to W+K, make those ideas happen. And that’s for Auto Trader. CG resources and Amsterdam, he was a creative at a large part of what I’m doing—try- support for the campaign came from Mother, London, contributing to no- ing to find the right clients, the right 1st Avenue Machine. table ad fare for Orange, among other partners. We have a lot of clients who clients. Earlier he served as a creative want to work with us but we’re being Right choice at TBWA\London, working on such very selective.” “I know I came to the right agency accounts as Sony PlayStation. Moseley added that this dynamic because this campaign was in the Asked about how his transition of “growing from the start” makes it works before I got here,” related from an international creative pow- easier to create an agency with a natu- Indie firm Nikki Weiss & Co. has taken on director Anouk Moseley. “I had a left hand in it cre- erhouse like W+K to the year-old, rally integrated view. Besson for exclusive representation in the Midwest. Bes- atively but not both hands. I was also smaller sized HMD&G has played “Wieden+Kennedy was already son’s roost is bicoastal Celsius Films and the rest of that involved in helping to line up the right out thus far, Moseley said he’s had to well established so we had to create a company’s directorial roster continues to be handled in the Midwest by independent rep Liz Laine....Grace Kelly production company and approach.” make some adjustments. digital element and integrate it, seep has joined Nice Shoes, New York, as a sales executive. She The reason Moseley knew he “When you’re at a bigger advertis- it throughout the entire agency,” said had worked in production and sales for such shops as Charlex and joined the right ad shop is that the ing agency and have everyone around Moseley. “I called it a blue cheese Spontaneous....Kamila Prokop of indie firm Muse has been named Auto Trader creative is akin to what you, you can more easily ask people model where the blue veins were put East Coast rep for Company X Edit, New York....Independent rep he strove for at W+K. to do things or help in various aspects. in to carry change and give a new Maria V. Elgar of Hardtribe has taken on national representation for “It’s work that has value not just to You have the benefit of a huge sup- digital flavor to the agency. Venice, Calif.-based live-action/VFX/animation/2D/3D studio Subgi- the client but more importantly to the port system for your creative ideas,” “But by [HMD&G] being a rela- ant, and Berkeley, Calif.-based Assemble which maintains a roster consumer as a viable piece of enter- Moseley observed. tively new shop, everybody here is of directors, designers and animators....United Talent Agency (UTA), tainment. The potential of this idea is “Now, by contrast, I’ve been run- very savvy digitally. You don’t have Beverly Hills, has added a couple of DPs—Stephen Keith Roach and that we can create something that can ning around quite a bit, doing things to teach everybody or change an ex- Richard Henkels—for representation in features and commercials.... live, a world that people will want to for myself a lot more. It’s been a very isting culture. The culture is already Cinematographer Conrad W. Hall has completed principal photogra- visit online. grounding experience for me and here. We’re already taking on purely phy on Fred Durst’s Comeback and is again available for spots and “There will be opportunities for very positive in that respect. You digital projects.” music videos through The Skouras Agency, Santa Monica.... people to visit and inhabit this on- come to realize that you need less in U.K. agency market As for the U.K. ad agency scene to- day as compared to when he was first a part of it years ago, Moseley said there’s a marked difference. “Coming back has been really inter- >March 27/New York, NY: AAF Advertising Hall of Fame esting, to see how many new advertis- Luncheon. www.advertisinghalloffame.org ing agencies have sprung up since I’ve >March 27/New York, NY: TVB Annual Marketing been away. Even now there seems to Conference. www.tvb.org be a new agency springing up every >April 1/New York, NY: ARF David Ogilvy Awards. www. week,” he observed. thearf.org “Generally there seems to be a >April 4-10/Santa Monica, CA: AFCI Locations Trade Show. hunger and a place for smaller, nim- www.afci.org ble agencies. It’s happening all over—I >April 11-17/Las Vegas, NV: NAB. www.nab.org think of Anomaly in New York as >April 18: SHOOT 6th Annual New Directors Search “Entry Deadline”. www.shootonline.com/go/search #,)#+(%2%4/6)%730/4 being a good example of this kind of agency, the new profile being that of >May 21/New York, NY: AICE Awards. www.aice.org Auto Trader’s “New Car Finder” a media-neutral shop.” 22 SHOOT March 14, 2008 Leading DIRECTORS

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