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SHOOT Digital PDF Version, May 16, 2014, Volume 55, Number 5 www.shootonline.com May 16, 2014 $7.00 Chat Room: Jonathan Teplitzky 4 12th Annual New Directors Showcase AICE Hall of Famer: John Palestrini 8 The ew Director N s T Sh O o Class O w H S c a e s e of Agency Heads Of h T • Production 5 • 2014 2 0 t Page 13 14 en The Best Work You May Annual Ev Never See 27 Primetime Talent: Emmy Contenders 10 So many combinations- it might blow your mind. Full Page Ad [COLOR +RUBBER+TRANSPARENT+RIGID] Introducing the Objet500 Connex3 from Stratasys, t h e wo r l d ’s o n l y f u l l - c o l o r a n d multi-material 3D printer. Select from incomparably brilliant and consistent colors, plus a full palette of transparent colors — the only 3D printer to offer such a wide array. And it’s the only 3D printer that prints flexible materials in a broad range of shore values. All with ultra-fine detail creating the most true-to-life modeling possible. Stratasys is the proven leader in multi-material 3D printing. For whatever your mind can imagine, visit stratasys.com/Objet500Connex3. ©2014 Stratasys, Ltd. 67541_Triplex Print:Shoot-Full Page Trim: 9 x 10.875 Creative: Susan Schmidt Publication: Shoot Bleed: 9.25 x 11.125 Account: Michael Jensen 3/10 Live: 8.5 x 10.375 Production: Tina Anderson Proofreader: Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production May 16, 2014 By Robert Goldrich Volume 55 • Number 5 spot.com.mentary www.SHOOTonline.com EDITORIAL Publisher & Editorial Director On Edge Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor Robert Goldrich The social media dy- tary, this touching addition to the cereal’s part. General Mills sought to deny cus- 323.445.6818 [email protected] namic is tantamount to “Heart Healthy” campaign wasn’t well tomers their right to sue or join class- Contributor Christine Champagne the proverbial double- received by some because of the family action lawsuits against the company—re- edged sword. it depicted—an African-American father, a quiring arbitration instead—once they ADVERTISING Display Advertisng Inquires Consider the case of General Mills, white mom and a biracial child. So much downloaded an online coupon or partici- [email protected] 203.227.1699 ext. 13 parent company to such brands as the bigoted vitriol surfaced on YouTube that pated in other General Mills offerings. Advertising Production venerable Cheerios. Last year, the com- Cheerios requested the comments section Clearly, the company tried to pull a fast Gerald Giannone pany was commended for its response to be turned off. But the negative remarks one on its valued customers. Customers 203.227.1699 ext. 12 [email protected] mean-spirited feedback on YouTube. Last were followed by an outpouring of public for the most part had no idea they were OFFICES Main Office month, it earned 256 Post Road East #206 well-deserved criti- Westport, CT 06880 USA General Mills has seen first-hand the promise and peril of the 203.227.1699 Fax: 203.227.2787 cism for behavior social media dynamic and customer relations. West which sparked social 323.445.6818 media rancor. support for the commercial. entering into a contract stripping them of Circulation 203.227.1699 ext 12 [email protected] The former laudable incident came Cheerios stood by the fictitious fam- the right to a day in court—a contract that Editorial Production Manager/Custom Reprints with the debut of a Cheerios ad which ily. Camille Gibson, VP of marketing for took effect because they merely wanted Michael Morgera 203.227.1699 ext. 11 [email protected] gave us a slice of life in which a girl asks Cheerios, said, “We felt like we were re- to strike up an online relationship with a SHOOT Publicity Wire her mom if eating Cheerios is good for flecting an American family.” Cheerios “trusted” brand. 203.227.1699 ext12 [email protected] your heart. Mom replies in the affirma- went on to bring back the family to star in Once this “contract” became public © 2013 DCA Business Media LLC. All rights reserved. tive. Next we see dad waking from a nap its Super Bowl spot this year. knowledge, the backlash was forceful, SHOOT and SHOOTonline are registered U.S. trademarks. No part of this publication may be reproduced, stored in any on the living room couch with a pile of Fast forward to just a few weeks ago, causing General Mills to relent and per- retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, Cheerios on his chest—clearly placed though, and Cheerios’ parent General haps reflect on both the promise and peril without the prior written permission of the publisher. there by a daughter who loves him dearly. Mills was on the wrong side of a situation of customer relations and social media Subscribe at www.shootonline.com/go/subscribe In what amounted to a sad commen- in which social media feedback played a word of mouth. Renew at www.SHOOTonline.com/go/renew Subscription Service & List Rental: By George Foulgham & Andrew Daniel [email protected] POV SHOOT (ISSN# 1055-9825) printed edition is published monthly except in July for $75.00 per year by DCA Business Media LLC, 256 Post Road East, #206, Westport, CT 06880. Printed peri- odicals postage paid at Westport, CT and at additional mailing Post Houses and Feature Documentaries offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 USPS (06-234) A feature docu- the sound recording can often be lost, so flagged early. This is crucial as feature doc- mentary must be the mixer will work very closely with the umentaries often have a quick turnaround SHOOTmobile Get the latest. Anytime. Anywhere. Any Location. approached as just production team to recreate something time for festival deadlines. Open your web browser on your Smartphone Visit http://mobile.shootonline.com. Bookmark it George Foulgham (l) that—a feature. The from scratch. During the picture editing When using archive footage, it’s ad- or & Andrew Daniel key is to generate a process, it’s good to keep a professional vised to go to the best source possible, Get SHOOT & SPW News texts on your Smartphone by texting follow SHOOTonline to 40404 in U.S. cinematic experience for the project that “eye” on the way production is handling even if that means the production needs raises it beyond the production levels of a sound that will be used during the mix to spend a little more money. There have The SHOOT >e.dition weekly ePub is published weekly TV documentary, while at the same time down process. Having a good discussion been times where we have thrown a se- on Friday. Brand New[s] weekly ePub is published weekly on Wednesday. setting it apart from a fictional movie. Fea- early on with the composer is invaluable, quence at the big screen to grade, and the ture documentaries require specialist skills finding out about the final engineering of client cannot believe how degraded the SHOOT is printed in the U.S.A. across the full postproduction spectrum their composition and how it will relate to archive looks—they will have been cutting with the ideal scenario being that one the film. We will then host a “spotting ses- at lower resolution on a smaller monitor so post facility houses the entire project. This sion” where the entire audio team attends it is hard to tell until it is blown up on a cin- means that the director and their team to look through the final picture edit with ema screen. This can be heart breaking, SHOOT is a member of: can be kept fully up to speed on develop- the director to lock down on the sound and often this is where unpicking can be- ments within the sound design or can pop scape of the film. gin. Unpicking sequences within a grad- into the mixing theatre during the pre-mix From a grading perspective, the colorist ing suite can be expensive, so this is where stage, whilst they may be in the grade or should always try to get to know the film communication and involvement of the online edit. In an ideal world everyone inside out before sitting down to make it colorist from an early stage is crucial. Find SHOOT online at: www.SHOOTonline.com would sit down before filming or archive- look beautiful. Getting a rough cut early ********* editing starts, allowing a bespoke workflow on, making notes and keeping in touch Sr. re-recording mixer George Foulgham to be crafted for both sound and picture. with the editor and director throughout and colorist Andrew Daniel are with Lon- With documentary archive footage the offline, means that any issues can be don post house Molinare. May 16, 2014 SHOOT 3 CHAT ROOM Jonathan Teplitzky Director discusses The Railway Man, his work in spots and features By Robert Goldrich ment is still alive. Lomax sets out to confront him, and his haunting Jonathan Teplitzky, represented for commercials and branded con- past, in this inspiring tale of heroism, humanity and the redeeming tent by ModOp Films, has directed the feature film The Railway Man cur- power of love. rently in theaters nationwide. The Railway Man is the latest addition to Teplitzky’s feature filmogra- The film is based on a true story and stars Colin Firth, Nicole Kidman, phy which includes Burning Man and Gettin’ Square, both nominated for Jeremy Irvine and Stellan Skarsgard.
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