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Aleysa Young MARC USA Grins Takes A Nice ‘n and Bears It For E-Z Approach To The Pittsburgh Theology Zoo page 12 page 13

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION January 12, 2007 $5.00

Three Commercials In Spotmakers Running For VES Award Nominations for visual effects excel- TThehe NextNext MMoveove Poised For lence go to Framestore for Rexona/ Sure Deodorant’s “Go Wild” from Sundance Lowe London, WETA Digital for AICP Looks To The Future As Content Biz Evolves; By Nicole Rivard Travelers’ “Snowball” via Fallon Min- PARK CITY, Utah—The Sundance neapolis and Method Studio for Sears’ Committee Presentation To Board Sheds Light Film Festival has always been good to “Arboretum” out of Y&R, London. By Robert Goldrich Brett Morgen. His film The Kids Stay Framestore has won the honor three In the Picture that premiered at the of the previous four years. LOS ANGELES—During its semiannual meeting last 2002 festival received critical acclaim. See page 4 month in Los Angeles, the board of directors of the And On the Ropes, which he debuted Association of Independent Commercial Producers there in ‘99, went on to be nominated Crossroads’ Bruce Hurwit (AICP) got a look-see at what’s in store from AICP. for an Academy Award. But this year Assumes The Pilot’s Helm next, a committee formed last year to provide the support is unprecedented—his NBC buys the rights to develop Split insight, context and hopefully some answers documentary Chicago 10 has been The Difference, a prospective prime- as to how the production company commu- chosen as the opening night film for time comedy series centered on the nity can capitalize on emerging content the event, which runs Jan. 18-28. He is goings on at a fictional ad agency. The opportunities and develop new busi- one of several artisans involved in the network pursued the property upon ness models while dealing with ad biz whose work will be showcased seeing a screening at the second an- new sets of related risks and throughout the festival. nual New York Television Festival potential liabilities. “Being selected to open the Sun- held in September where it won a jury Continued on page 8 dance Film Festival is probably the award and a popular vote tally. greatest honor any American inde- See page 4 pendent filmmaker can achieve. Af- Ron Lawner Enters ter I received the invitation I couldn’t sleep for days. The first few nights I SHOOT’s Chat Room was filled with excitement. By the Ending a legendary 25-year career at third night, I was terrified,” said Mor- Arnold Worldwide, Ron Lawner has gen, who helms spots via bicoastal stepped down from his position as Anonymous Content. vice chairman, global chief creative Not only is pretty much every officer. He reflects on the state of the filmmaker at the festival on hand for advertising business, his long creative opening night—as well as most every tenure, his future plans and a chang- major film critic—but Morgen is also ing media landscape which translates expecting acquisitions executives into new, varied creative opportuni- from just about every company to be ties for agency artisans. in attendance, which is fortuitous in See page 10 that he is seeking distribution for his film. “I’m expecting the atmosphere to be electric.” Edit Houses Assess The Getty Images/IM07028 Continued on page 11 AAAA’s Annual Analysis Post executives offer feedback on 2007: A Year For Model-making And Breaking the study. A SHOOT Staff Report equity in intellectual property and/or year extension of the commercials for performers spanning traditional See page 19 LOS ANGELES—As reflected in this garnering compensation via creative, contract covering actors, which was spots as well as nontraditional ad fare week’s lead story about the AICP. licensing or other fees, so too will dif- formally approved in October. A key spanning a growing array of new me- next committee’s efforts in the de- ferent industry sectors grapple with provision of that agreement was that dia. The results of the pending study, velopment of new business models formulating new creative and busi- the two sides—the advertising indus- to be conducted over the next nearly to address an ever changing media ness models. try and the actors unions, the Screen two years, will form the basis for rene- landscape, 2007 will likely be a year These endeavors will be under- Actors Guild (SAG) and the American gotiating the next commercials con- marked by much more such model- taken on an individual company ba- Federation of Television and Radio tract in 2008. making. As production companies sis as well as collectively and for that Artists (AFTRA)—hire a consultant Meanwhile, consensus has proven look to diversify beyond their tradi- matter through collective bargaining. to helm a pivotal joint study explor- to be elusive on another manage- tional work-for-hire model to holding On the latter score, consider the two- ing alternative compensation models Continued on page 18 Perspectives

spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Heartstrings January 12, 2007 Volume 48 • Number 1 While the means Mr. Holland’s Opus Foundation. He tar was auctioned. The first time was picture Mr. Holland’s Opus, the story www.SHOOTonline.com took a different applied to the foundation in ‘98 for a at AMP’d UP!, the opening night mu- about the profound effect a dedicated EDITORIAL Publisher & Editorial Director form this time—an cello. He was at a place in his studies sic bash of Advertising Week 2006 in music teacher had on generations of Roberta Griefer 203.227.1699 ext 13 [email protected] eBay auction—the end happily re- where he needed a better instrument Manhattan last fall. students. The film’s composer, Mi- mained the same as the Association of to progress in his pursuit of music, but “We auctioned off the guitar at the chael Kamen, founded Mr. Holland’s Editor Robert Goldrich Music Producers (AMP) raised money his family could not afford a cello for concert, and the highest bidder never Opus Foundation in ‘96 as part of his 323.960.8035 [email protected] for Mr. Holland’s Opus, a foundation him. Price received a cello from the showed up to claim it,” said AMP commitment to the future of music Sr. Editor/Technology & Postproduction Carolyn Giardina that supports music education and Opus Foundation and went on to win president Tiffany Senft, president/ education. Kamen passed away in ‘03, 323.960.8035 [email protected] its many benefits through the dona- assorted scholarships and awards. executive producer at tonefarmer, a but the legacy he left behind includes Associate Editor tion and repair of musical Nicole Rivard 203.227.1699 ext. 16 [email protected] instruments, which go to The positive effects of music education on children’s emotional and under-served schools, com- Associate Editor intellectual growth have been proven in numerous case studies. Ken Liebeskind munity music programs 203.227.1699 ext. 17 [email protected] and individual students nationwide. Again in ‘05, a portion of the pro- New York-based music/sound design not only his amazing body of work, Contributor I first ran across AMP’s efforts to ceeds generated by the AMP Awards shop. “We didn’t want to disappoint but also the foundation. Christine Champagne help Mr. Holland’s Opus in April 2004 was donated to Mr. Holland’s Opus. Mr. Holland’s Opus, so eBay was the The organization was started to ADVERTISING when I attended the then AMP Mixer And this year, sans the AMP compe- answer.” address the fact that across the na- 21 Charles Street #203 Westport, CT 06880 USA Awards. That evening there were a tition, the tradition still continued, The guitar was provided by the tion, school and community music East/Midwest/Canada couple of prime highlights besides albeit online as AMP auctioned off an manufacturer Gibson Guitars, which programs have been discontinued or Robert Alvarado 203.227.1699 ext. 15 [email protected] the awards themselves: a silent char- ebony Les Paul guitar bearing the sig- also donated a case for it. severely diminished due to budget International ity auction which generated money natures of superstar band Gnarls Bar- The Gnarls Barkley bandmates, cuts. The positive effects of music ed- Roberta Griefer 203.227.1699 ext. 13 [email protected] for Mr. Holland’s Opus; and a live per- kley and television and radio person- Cee-Lo and Danger Mouse, signed ucation on children’s emotional and formance by Drake Price, a talented ality Adam Carolla. The instrument the front panel, as did concert emcee intellectual growth have been proven West Coast Carl Gilliard jazz cellist who at the time was 18 sold for $1,310 on eBay, with the mon- Carolla. in numerous case studies. 818.763.2678 [email protected] years old. ey going to the Opus Foundation. The Opus Foundation was inspired For further info, log onto www. Classified & Advertising Production Manager Price represented the good work of This was the second time the gui- by the critically acclaimed motion mhopus.com Kelly Boyle 203.227.1699 ext.14 [email protected] OFFICES Main Offi ce 21 Charles Street #203 POV Westport, CT 06880 USA 203.227.1699 Fax: 203.227.2787 By Suzy Kellett West 650 N. Bronson Avenue, Suite B253 Los Angeles, CA 90004 USA Show Me The Money 323.960.8035 Fax: 323.960.8036 Circulation Editor’s Note: Suzy commercials as they are very good today’s conflicting priorities such as ing, the LOCAL support services that Gerald Giannone 203.227.1699 ext 12 [email protected] Kellett is manag- business. And, for the free assistance— homelessness, deteriorating city in- get hired and the overall marketing Editorial Production Manager/Shoot Reprints and ing director of the with locations, permitting, clearances, frastructures, education, Homeland value. Feature, television and com- Article Rights Michael Morgera Washington State Film Office. She contacts, troubleshooting—all we ask Security, healthcare, etc, many lead- mercial producers hold the key in 203.227.1699 ext. 11 [email protected] has been part of the film commission in return is that producers tell us how ers wonder if government should be helping us make these arguments © 2007 DCA Business Media LLC. All rights reserved. community for some 25 years, and con- many local people were hired and the investing dollars in what appears to when they share their production fig- No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, tinues to be active in the Association amount of production spending left in be the lucrative business of film, tele- ures with us. electronic, mechanical, photocopying, recording, or otherwise, of Film Commissioners International. our area. vision and commercial production. OK, yes, we might be annoying without the prior written permission of the publisher. Her first post was deputy director at I realize we are low on the totem It is up to film commissioners to from time to time when we bug you For Subscription Service Inquires and Subscription Orders, Please call: the Illinois Film Office, where in 1982 pole of “To Do’s” for a producer with constantly make the argument of how about this, but we just want to make 1.847.763.9620 she was promoted to director. In ‘96, an intensely busy schedule. But, help- many LOCAL jobs are created, the sure we are still around the next time SHOOT (ISSN# 1055-9825) printed edition is published bi- weekly except in January, July, August, and December when she moved to the Washington State ing us get those figures can be the dif- levels of LOCAL production spend- that you call. published monthly) for $125.00 per year by DCA Business Media LLC, at 21 Charles Street, Westport, CT 06880. Printed Film Office. ference between a film commission periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to This month WashingtonFilmWorks, staying open or not. Film commis- SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. a new incentive program for Washing- sions use these statistics to justify their Flash Back USPS (06-234) ton State, is launching its 20 percent existence and track the economic January 4, 2002 Director Richard D’Alessio has signed with For SHOOT custom reprints please contact Michael Morgera 203.227.1699 ext. 11 or email to: mmorgera@ rebate program. Qualified feature film, impact of production. It is always our bicoastal @radical.media for exclusive commercial representation shootonline.com television and commercial projects can intention that individual project fig- worldwide with the exception of Canada and Japan....Director Michael SHOOT >e.dition published weekly except in January, Salomon has signed with Coppos Films, the bicoastal commercial July, August, and December when twice monthly. receive up to 20 percent of their in-state ures be kept confidential. The year’s iSPOT, the digital newspaper for broadband video spending in a refund. If you buy, rent production figures are then totaled production house headed by president/executive producer Michael advertising, is published weekly on Wednesdays. For or hire it in Washington, it qualifies. and submitted for internal budgeting Appel and managing director Joanne Ferraro....Al Califano, longtime further information go online to www.shootonline. com/go/ispot Features need to spend a minimum purposes. executive producer at bicoastal OneSuch Films, has been elected AICP SHOOT is produced in the U.S.A. of $500,000; television $300,000 and Unfortunately, film commissions national chairman, succeeding Alex Blum.... SHOOT is a member of commercials $250,000 per spot. spend more time justifying their exis- While the program is designed to en- tence at home than they do to their January 10, 1997 Director Charlie Carlson has joined Compulsive courage filming in Washington, Kellett customers. Government by its very Pictures in New York following a three-year affi liation with now-shut- in this column encourages those who nature is an employment revolving tered bicoastal shop BFCS....Seattle-based music/sound design house film anywhere to report their economic door. Film commissioners spend a Cinevox opened an offi ce in New York. Company co-founder/com- data, which is of critical importance to great deal of time educating and re- poser/creative director BC Smith and composer/sound designer Zack the survival of film commissions. educating old and new officials on Belica remain Seattle residents, while co-founder/executive producer/ In any given year film commissions the value of their work. Regardless general manager Bill Ronan is set to move to New York full time.... around the United States assist thou- of these efforts, many state, city and Director Steve Vaughan has signed with bicoastal Industrial Artists for sands of commercials working on lo- county leaders see our work as corpo- commercial representation.... cation. It is our pleasure to help these rate welfare. When confronted with 2 SHOOT January 12, 2007

News

PEOPLE & PROJECTS Trio Of Spots To Vie For Visual Eff ects Society Awards Kudo

By Carolyn Giardina producer Abby Orchard. sual effects supervisor Dan Lemmon, for Young & Rubicam, London. The feature 21 categories that were chosen LOS ANGELES—With the nomination Last year, Framestore won the visual effects producer Eileen Moran, visual effects were created at Santa on Jan. 6 by a panel of more than 80 of “Go Wild” for Rexona, Framestore- spot category for the Cannes Grand digital effects supervisor R. Christo- Monica-based Method Studio. Nomi- visual effects professionals, all VES CFC, London and New York, col- Prix winner, Guinness’ “noitulovE,” pher White and animation supervisor nated talent is lead 2D visual effects members, who viewed hundreds of lected its fifth straight nomination for from London-based agency AMV Paul Story. artist Cedric Nicolas, CG creative entry submissions at the screening fa- a Visual Effects Society (VES) Award BBDO, directed by Daniel Kleinman Rounding out the commercial cat- director Laurent Ledru and visual ef- cilities of FotoKem in Burbank. in the category of outstanding visual of Kleinman Productions, London. egory is Sears Tools’ “Arboretum” fects producer Rich Rama. On Jan. 13, the VES holds its an- effects in a commercial. The annual (Kleinman has since become part- directed by Rupert Sanders of MJZ The fifth Annual VES Awards will Continued on page 8 awards competition is in its fifth year, nered in production house Rattling and Framestore has won the category Stick, London.) three of the four previous years. This year “Go Wild” will compete AMPAS Set To Honor Feeney, Edlund This year, the nomination came on for the VES Award with two other the strength of a spot for Lowe, Lon- spots, including Travelers Insurance’s By Carolyn Giardina Award from the academy for his part many of which are now in widespread don, which features a city filled with “Snowball” for Fallon, Minneapolis, BEVERLY HILLS—Visual effects soft- in the development of one of the first use to produce visual effects for fea- wild animals; Noam Murro directed directed by Dante Ariola of bicoast- ware pioneer Ray Feeney has been motion control camera systems. A ture films, television shows and com- voted the Gordon E. Sawyer Award second Scientific and Engineering mercials. Rexona’s “Go Wild” is by the Board of Governors of the Award followed in ‘91 for his work on In ‘95 Feeney launched another Academy of Motion Picture Arts and the Solitaire Image Recorder, and two company, Silicon Grail, to facilitate the latest Framestore Sciences (AMPAS). The award, an Os- more in ‘94 honoring his endeavors software development in the motion commercial to receive car statuette, will be presented at the in developing film input scanners and picture industry. Silicon Grail’s RAYZ Scientific and Technical Awards Din- the Cinefusion software implemen- software addressed the postproduc- a VES nomination. ner on Feb. 10. On the same evening, tation of the Ultimatte Blue Screen tion need for a digital compositing visual effects veteran Richard Edlund Compositing Technology. tool that could be used to efficiently via Biscuit Filmworks, Los Angeles, al/international MJZ and featuring will be awarded the John A. Bonner In ‘01 the academy’s board of gov- create visual effects for feature films. and Independent Films, London. The a man who trips on a hill and subse- Medal of Commendation. ernors awarded Feeney the John A. In ‘02 Apple Computer acquired the nominated Framestore artists are vi- quently creates a snowball effect with Feeney began his career at the now Bonner Medal. technologies and continues to incor- sual effects supervisor/Inferno artist everything and everyone in his path. defunct Robert Abel & Associates, Feeney founded Hollywood-based porate them into Apple products. Stephane Allender, CGI supervisor This nomination went to the talent at working on visual effects for commer- RFX Inc. in ‘78 to provide leading- A co-chair of the Academy’s Sci- /technical director Andy Boyd, senior Wellington, N.Z.-based WETA Digi- cials and features. In 1988 he received edge scientific and engineering ad- ence and Technology Council, Fee- technical directors Dan Seddon and tal. Nominees are WETA Digital vi- his first Scientific and Engineering vancements for the film industry, Continued on page 8 Comedy Pilot With Spotmaking Ties Hof Brings Spot/Doc/Film Gets Bought By NBC Experience To Red Car

Split the Difference Is First NY TV Fest Pilot Acquired By Broadcast Network By Carolyn Giardina Car by some of its new hires includ- SANTA MONICA, Calif.—Editor Tra- ing Karen Smith, managing director By Nicole Rivard opinions on what makes really cy Hof has joined Red Car. She will in Santa Monica (who worked with NEW YORK—On a Sunday night good and really bad ads. be working out of its Santa Monica Hof previously while a producer at back in September, the pilot “I think in one way people office; the company also maintains agency Team One, El Segundo, Ca- episode of Split the Difference, wonder, ‘Why are they all so bases in Chicago, Dallas, New York, lif.); and Yvette Lubinsky, Red Car’s a half-hour comedy series set bad?’ And this show explains San Francisco and Buenos Aires. L.A.-based rep. “I also appreciated in a fictional New York-based why some turn out to be a trag- Hof arrives after nearly two years Red Car’s national presence with Dal- TV ad agency, won the jury’s edy,” explained Hurwit. at FilmCore Editorial (Santa Monica, las, Chicago, New York and San Fran- comedy category and the pop- At the same time, office sto- San Francisco and New York), where cisco,” she related. ular vote during the second an- ries are popular right now and she cut commercials for clients includ- “I know her work ethics [from nual New York Television Festi- this provides a setting that ing Mitsubishi, the Las Vegas Visitors Team One],” Smith said of Hof. “She’s val. Just two short days later, people haven’t seen before. Bureau, Honda Motorcycles and Taco a hard worker and very talented. I en- supervising producers Mary Callahan, Hurwit and Narciso get the “It’s a great new setting to Bell. Hof said she particularly enjoys joy her company. Her reel showed Egan Callahan, Joe Narciso and good news. describe what everybody goes visual style and comedy genres. how well she was doing as a editor.” Bruce Hurwit got a phone call to get into the festival—they through no matter what your Earlier, she had been freelancing, Hof joins a roster of Red Car edi- from Meryl Poster, producer weren’t even aware of the ac- job is or where you work. And earning spot credits for such clients as tors that includes Chris Gipson, Keith at NBC Universal Television cess or level of notoriety it I love the nature of advertis- Gatorade, Toyota and the U.S. Army. James, Alex Neuman, Patrick Ham- Studio, who told them the net- would generate from networks ing. You have two sides of an She first established herself in the mond, Sean Berringer, Bob Carr, Cara work was buying the rights to and major talent agencies like agency forced together. You advertising community at now de- Meiselman, George Friedman, Greg the pilot for development. CAA and William Morris. have the creative side and the funct Straight Cut as an assistant be- Sunmark, Phillip Marinari, Michael “We were walking around In the pilot, viewers get to account side and they usually fore being promoted to editor in ‘98. Bartoli, Rob Watzke, Susan Munro, Rockefeller Center going, ‘Ok, see inside the Manhattan offic- have very different goals. So There her editing credits included Charlie Cusumano, Tim Cahill, Steve where is Ashton Kutcher be- es of the Nest Ad Agency where you have very different types Cybercash’s “Lifestyle Choice,” di- Greenstein, Deirdre Bell, Glenn Con- cause we thought we we’re be- two competing creative teams of people forced to work to- rected by Jeff Gorman of JGF (now te, Jerry Fried, John Maloney, Jona- ing punk’d,” said Narciso, who clash as they attempt to pitch a gether and you get great con- bicoastal Sandwick Films) for agency than Edwards, Ed Einhorn and Steve wrote the pilot and also ap- client very disparate concepts flicts,” Hurwit said. Katsin/Loeb, San Francisco, which Armstrong. pears in it. for a home security system. Hurwit should know. He won a Gold Lion at Cannes in ‘00. They are repped on the West Coast It was produced by Alec Sash The trio wasn’t surprised started his career in New York Hof is also experienced in docu- by the aforementioned Lubinsky; in and directed by Hurwit, whose that the show resonated with City as an art director at ad mentaries and independent films, Chicago by Mark Lichtenstein, Red spotmaking home is Cross- the festival audience because agencies BBDO and Cliff Free- and is currently working on a pilot for Car Chicago’s managing director/ roads, New York. everyone has seen television man and Partners before join- director Liz Lichman titled My Insig- head of sales; in New York by Ange- Their main goal was just commercials and has their own Continued on Page 9 nificant Other. lina Powers; and in Dallas by Cathy Hof said she was drawn to Red Brittingham and Joanne Morris. 4 SHOOT January 12, 2007 Sony’s CineAlta™ HDW-F900 has captured more high-profile movies and episodic TV shows than all others combined. While others try to imitate, Sony continues to innovate. The new HDW-F900R weighs 30% less, incorporates HD-SDI and SD-SDI, delivers 140 Mbps HDCAM™ recording and retains full 1920 x 1080 image sensors. And now Sony presents CineAlta 1080/24P performance at $25,800 (MSRP). The new PDW-F350 XDCAM® HD camcorder is already winning praise in reality TV, documentaries and news. It delivers the creativity of overcranking, undercranking, slow shutter and time lapse. And it speeds your workflow with nonlinear, file-based recording to Sony Professional Disc™ media. CineAlta camcorders. Anything less is just... less.

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© 2006 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony, CineAlta, HDCAM, Professional Disc and XDCAM are trademarks of Sony. The New Way of Business is a service mark of Sony.

Client Job Number Description Art Director Publication Creation Date Specs Revision News

Dir. Jayson Moyer Reaches Crossroads Short Takes

By Robert Goldrich Moyer also diversified into mu- JESSICA YU COMMITS TO QUITTING LOS ANGELES—Bicoastal/interna- sic videos, directing for such acts as Academy Award-winning documentary filmmaker Jessica Yu tional Crossroads Films has signed Glassjaw and the Canadian band Hot (Breathing Lessons), whose commercial production roost is Nonfic- director Jayson Moyer, whose last Heat. For the latter, the most notable tion Spots, Santa Monica, has directed a campaign for GlaxoSmith- spot roost was Alturas Redfish Films, job was “Bandages” (co-directed with Kline’s Commit anti-smoking lozenges out of Arnold New York that Venice, Calif. His most recent endeav- Cooper Johnson), which has been a entailed chronicling the lives ors were a Close Up spot out of JWT, long playing clip on MTV2 and helped of four real people—Lisa, Bangkok, and a Ford/NASCAR com- to advance the group to star status Keith, Matt and Kim—as mercial via JWT Detroit. Moyer’s pri- internationally. The Glassjaw video they try to quit tobacco with or affiliations included Area 51 Films, was titled “Ape Dos Mil,” an offbeat the help of Commit. The which has since closed, and bicoastal/ piece which, among other scenarios, television spots about Lisa international Believe Media. features clowns making out. are just hitting the air now. At press time, Moyer had already At Crossroads, Moyer is repped by Lisa is a new mother who Jayson Moyer secured a pair of projects under the Tanya Cohen on the West Coast, Sha- has been smoking a pack of Crossroads banner: a McDonald’s job In ‘02, Moyer was featured in Saa- ron Lew on the East Coast and Janice cigarettes daily for 15 years. #,)#+(%2%4/6)%730/4 out of Hoffman Lewis, San Francisco, tchi & Saatchi’s New Director Show- Harriman in the Midwest. The footage is unscripted, and a four-spot Chevy package for case at the Cannes International Ad- Crossroads Films maintains an of- recorded by a camera installed in her home coupled with mate- Campbell-Ewald, Detroit. vertising Festival. Over the years, he fice in London and has a co-produc- rial shot in her natural surroundings. There are a total of seven Moyer brings both commercial- has helmed assorted commercials for tion agreement in place with Avion commercials centered on Lisa and covering about a three-month making and music video directorial such clients as Sony, Molson, Procter Films, Toronto. span. Each spot is set to run for one week at a time and audiences chops—as well as ad agency experi- & Gamble, ESPN, State Farm, Capital Several diverse companies reside will be able to track Lisa’s progress. At press time, Keith’s episodic ence—to Crossroads. He started out in One, Motorola, Nintendo and the Sci- under the Crossroads umbrella, in- spots were about to hit the web. The Lisa commercials will also the industry as an intern in the creative Fi Channel. cluding: Crossroads Television, a be on the site, commitlozenge.com, which additionally features department at Wieden+Kennedy, To- There have also been foreign com- creative services agency that devel- interactive tools like the Commit Quit Tracker, an interactive kyo. Moyer then became a student at mercials, including Polish market fare ops and produces promotional and graph that tracks a user’s experiences and progress during the Art Center College of Design, Pasa- produced by Filmit, Warsaw, for Ikea marketing campaigns for broadcast, 12-week quit period. Site visitors can create their own trackers dena, Calif., where he directed two and Vizir detergent from Leo Burnett, cable and syndication companies; and see composite results of others. Footage is embedded at dif- spec ads, New Balance’s “Stability” Warsaw, as well as Signal toothpaste Crossroads Feature Films; music ferent points in the tracker so relevant webisodes play when the and Preparation H’s “30 Grit,” which for D’Arcy, Warsaw. Moyer’s work in video division Merge@Crossroads; user rolls over a particular juncture in the timeline. All four of respectively took Gold and Bronze Poland has garnered two Gold Iron bicoastal nonlinear editing house 89 the quitters’ stories will be part of a branded content documen- honors in the student category of the Eagles, generally regarded as that Editorial and design firm Headlight tary. The rationale for the campaign is rooted largely in research, 2000 Clio Awards. country’s top advertising award. Design+Visual Effects, New York. which shows that some 97 percent of smokers who try to quit fail so they often don’t know what a true success story looks like. ARTISANS The Commit reality campaign hopes to fill this void, showing the highs and lows experienced by those who are struggling to kick Spot Vet Tony Harding Opens T.H.E.M. their addiction. The Arnold creative team included chief creative officer John Staffen, creative directors Andrew Cahill and Ken -Fer NEW YORK—Veteran executive pro- promos (for HBO, Showtime, NBC, residing in Hollywood, Green is a ris as well as producer Tim Speidel. Loretta Jeneski and Michael ducer Tony Harding has launched ABC) and music videos (Mariah Car- writer on Marvel Studios’ upcoming Degan executive produced for Nonfiction, with Iza Muchlinski Tony Harding Entertainment Media ey, the RZA). Wolverine, and directed the upcom- serving as producer. The DP was Josh Salzman, and Mark Imgrund (T.H.E.M.), a New York-based com- ing feature documentary The Rough edited via Nonfiction.... mercial production house with a di- Directors Ride. She recently directed three spec rectorial roster consisting of Elisson Burgos’ industry roots are in agen- commercials, shot by feature DP Bob- CELEBHEADS Burgos (a.k.a. Fred), Zoe Green, Jim cy creative soil; his last position was as by Bukowski. Former Deutsch creatives David Rosen and Cheryl Van Ooyen Tozzi, Lawrence Jacomelli and Mi- senior VP/group creative director at Tozzi’s spot helming credits span have written and directed Celebheads, a series that debuted chael Uys. such accounts as Kelloggs Rice Krisp- last month on VH1 Mobile and at VH1.com. Each episode is a Harding will continue to main- ie Treats, Mattel and Dannon. He is short-form parody that uses the first person camera technique tain Kandokid, a New York shop he also well known as the puppet and to capture a celebrity’s POV--the first being that of Paris Hilton. opened in 2003 with partner/direc- animation designer for MTV2’s series Upcoming installments will parody the daily lives of noted ac- tor Jeff Kennedy to facilitate a large Wonder Showzen. tors, artists and politicians. Rosen and Van Ooyen, who are now branded content package for McDon- Jacomelli also has an extensive spot pursuing directorial careers, also executive produced the series, ald’s. Many of the T.H.E.M. helmers directing track record, with work for which was created and produced by Men of Science in conjunc- are affiliated with Kandokid for long- Orange, Ikea, Fila, Swatch, Carlsberg, tion with VH1.... form projects. Knorr and Toyota to his credit. He is Harding continues as Kandokid’s repped by Great Guns in the U.K. and PEOPLE IN THE NEWS managing partner/exec producer; the by JSA across the rest of Europe. Editor Staci Le Van has joined company is currently in production And Uys’ experience encompasses the Austin, Texas office of char- on a series for VH1 tentatively titled commercials, promos and feature lieuniformtango. She shifts Man Band. documentaries (Riding the Rails, over from the editorial shop’s With Kandokid active in long-form which earned Peabody and Direc- Dallas facility where her work assignments, Harding felt the need Tony Harding tors Guild of America Award dis- has included commercials for to also maintain a firm focused on Arnold Worldwide before he decided tinction). He is currently working on such clients as Cellular One, commercials, leading to his forming to make the transition to directing The Good Soldier, a feature-length Curves, Goody’s, Metro PCS, T.H.E.M. Harding has a commercial- full time. Among his helming credits documentary that tells the stories of Staci Le Van Comcast and the Discovery making pedigree. are spots for Merck and STIHL pow- five American soldiers from different Channel. Prior to charlieuni- As executive producer for such er tools, the latter being produced wars (World War II, Vietnam, Iraq) as formtango, Le Van cut for four years with The Whitehouse, Santa New York shops as Conspiracy and through Kandokid. they enlist, go into battle and change Monica....Rob Abeyta, Jr., who most recently was an art director Big Picture, he presided over work Green cut her teeth directing the- their minds about war. Earlier in his at Nike, has come aboard advertising and design studio 72and- for Reebok and Burger King, among atre at Cambridge University. She career Uys was partnered in New Sunny, El Segundo, Calif., in an art director capacity. other clients. Harding additionally later wrote and directed the period York house Optic Nerve through has experience in the production of short film Daisy Go Home. Currently which he helmed spots.  SHOOT January 12, 2007

News

AICP Ponders What’s Next, Tackles Issues HD Essentials

Continued from page 1 Ken Robinson about the future. We Relative to the revised payment guide- By Carolyn Giardina Committee members made a pre- plan to post these conversations on- lines, the board is “looking forward” sentation to the AICP board and while line for our members to access.” to them being widely adopted, ac- details aren’t yet publicly available, Miller commended the work of cording to Miller, who said that feed- AICP president/CEO Matt Miller said AICP.next, which is chaired by Mas- back from agencies has been largely Autodesk Presents Update, Shares “amazing, relevant, tangible pieces” simo Martinotti, a member of the positive based on an understanding have been created. The AICP plans AICP board and executive commit- of the cash flow dilemma that is being Vision For The Future to meet with its production company tee. Spot director Martinotti is also faced by production companies. Last month Autodesk Media & Entertainment (formerly Discreet) members to discuss the findings and president of AICP’s Florida chapter The board also plans on continuing held a press conference at its Montreal headquarters to restate its recommendations of AICP.next. Some and of Mia Film, a production house its external affairs push on the spot position in the industry and to offer a look ahead at the compa- of those recommendations may re- based in Miami with offices in Mex- filming incentives front. ny’s business strategy. Autodesk Media & Entertainment VP Marc quire funding to get a comprehensive ico, Argentina and Costa Rica, and The AICP, for example, played a Petit cited revenue growth, with the Media & Entertainment unit initiative up and fully running, noted associate offices in Europe. key role in bringing about a multi- reporting revenues of $172.3 million in fiscal ’06, compared with Miller. At press time, it was being de- pronged tax credit initiative ex- $160 million in fiscal ’05. termined if the upcoming meeting of Membership initiatives pressly designed to encourage com- The company had an important year, famously starting with the production house executives—slated The AICP has also recently im- mercial production in New York acquisition of Alias, the maker of Maya and MotionBuilder. to take place this month—will be done plemented a couple of membership State. That program took effect Jan. Autodesk also initiated a notable strategy in its existing prod- via conference call, or face to face in a initiatives: one being the creation of 1. Other pro-filming incentives have uct line, which is among the most popular in the commercial post series of regional sessions or perhaps a membership category for foreign also been enacted or are on the verge industry. In ’06, Autodesk completed a transition from an SGI- more of a national summit. production service companies; and of being adopted in other states and based business model to a commodity based systems model. Es- In broad strokes, the AICP commit- the other taking the form of an out- municipalities. sentially, products from its systems division that has operated on tee has looked beyond the traditional reach program to digital producers. Also pending is the release of the SGI hardware—including Flame, Inferno, Fire and Smoke—have work-for-hire situation on which com- The former could help raise fourth annual AICP membership been transitioned to the Linux platform. mercialmaking is based. AICP production company member survey, which was conducted and Head of marketing Maurice Patel explained that this change “AICP.next has delved into many awareness of qualified international analyzed by independent firm Good- enables customers to take advantage of new levels of price/per- emerging areas and what is being production service shops and re- win Simon Strategic Research, San formance on Linux. He reflected back and pointed out that once asked of production companies from sources in foreign countries, while Francisco and Los Angeles. The find- “it took a $2 million hardware suite to color correct for standard concept through content develop- the latter encompasses such disci- ings provide insight on the state of the definition TV. Today using a modern 64-bit machine with good ment to media placement,” related plines as animation, visual effects business at large and AICP member graphics, a single workstation can do multiple HD color correc- Miller. and graphic design. attitudes about the industry. tions in real time.” “This also translates into looking The AICP created a digital pro- In its other prime order of busi- The company also offered updates on products in the systems into other forms of compensation duction council in November to ness during the board meeting, the group, such as Lustre. The Lustre update may be of particular in- for production companies, areas like help address business affairs and AICP re-elected Frank Stiefel as its terest for those in advertising production. As many may recall, the intellectual property ownership and other issues of importance to this national chairman and Bob Fisher Discreet Lustre color grading system—based on the color grading creative fees. constituency. as vice chairman. Stiefel is executive technology acquired by Colorfront—was introduced and subse- “And the committee’s work hasn’t For example, as earlier report- VP/exec producer of bicoastal/in- quently Incinerator was launched to offer a performance boost. In been done in a vacuum,” he con- ed (SHOOT, 12/15/06), the AICP ternational @radical.media while the U.S., Lustre had initially seen more interest from the feature tinued. “The committee has inter- board—in revising its payment Fisher is executive producer/owner community than in advertising. This past year, Lustre HD was in- viewed—and continues to talk—with guidelines from longstanding 50- of bicoastal Celsius Films. troduced specifically for commercial work. interesting people from different 50 and 50-40-10 plans to a 75-25 Sally Antonacchio, VP of bicoastal Last month in Montreal, product marketing manager Marcus walks of life and business, people like arrangement—separately took into The Artists Company, continues to Schioler admitted “realistically, Incinerator is the right product for David Droga [creative chairman of bi- account the special circumstances serve as AICP treasurer. And AICP commercials. [High-end advertising clients] want performance.” coastal agency Drogafive], and [futur- which set visual effects/digital pro- legal counsel Robert L. Sacks of Kane Lustre HD was “meant to be at a price point for a larger group of ist, author (Out Of Our Minds, Learn- duction jobs apart from more tra- Kessler, New York, remains the orga- people,” he explained. “The greatest adoption is happening with ing to Be Creative) and educator] Sir ditional live-action-based projects. nization’s secretary. commercial companies in smaller markets [internationally out- side of markets such as London and domestically outside of New York and Los Angeles]. They don’t have the entrenched workflow. Feeney, Edlund To Receive AMPAS Honors “But price is not ultimately what is [top priority] in high-end Continued from page 4 fects for features (Ghostbusters, Die Branch Executive Committee and commercials. They need performance,” Schioler added, saying ney also serves on AMPAS’ Scientific Hard, Ghost) and spots. Scientific and Technical Awards that while Lustre HD is fast particularly with new GPU technology, and Engineering Awards Committee An active member of the acad- Committee from ‘01-’06. Edlund Lustre with Incinerator is still the fastest in the line. Schioler add- and has chaired the Digital Imaging emy since ‘79, Edlund served on its continues to serve on the AMPAS’ ed that notable work at the moment is focused on the integration Technology Subcommittee. board of governors from ‘95-‘06, and Science and Technology Council of Lustre with Smoke and Flame. In addition, Feeney is a founding chaired both AMPAS’ Visual Effects and Museum Committee. When looking at market drivers, Autodesk emphasized the member and director of the Visual Ef- games market, which the company reported is expected to be- fects Society as well as a fellow of the come a $46.5 billion industry by 2010 (source: Pricewaterhouse Society of Motion Picture and Televi- VES Unveils Nominees In Spot Category Coopers) due to the introduction of new consoles, which include sion Engineers. Continued from page 4 thing new at this event and that’s HD support. Meanwhile honoree Edlund won nual Show and Tell Event, which what makes it vital to the concept of Chris Vienneau, product manager for Toxik and Combustion, Oscars for his work on such classic will afford an opportunity for VES competing for awards.” added that a recent Piper Jaffrey report concluded that global films as Star Wars, The Empire Strikes nominees to present their nominat- Final voting for all categories will HD production is still only around 35 percent. Vieneau predicted Back, Raiders of the Lost Ark and Re- ed work. “The sophistication of the take place via an online view and vote that the HD broadcasting of the 2008 Olympics in Beijing would turn of the Jedi. work increases constantly,” says Jeff between Jan. 22 and Feb. 6. Winners prompt the “next big leap.” He also earned six additional Acad- Okun, VES Awards Committee chair. will be announced at the fifth Annual (For customer reactions and analysis into some of the recent emy Award nominations and three “We’re now at the point where even VES Awards gala on Feb. 11 in Hol- Autodesk restructuring, see this week’s Editing and Postproduc- Scientific and Engineering Awards. the industry professionals can’t tell lywood. There, noted visual effects tion Special Report.) He is a visual effects Emmy Award what’s real and what’s a visual effect. pioneer Dennis Muren will receive *** winner for the television series Battle- Our Show and Tell gives the artists a the coveted VES Lifetime Achieve- SHOOT’s senior editor, technology and postproduction Carolyn star Galactica. chance to show their colleagues and ment Award. A complete list of all Giardina can be reached at [email protected] or at (323) In ‘83 Edlund founded Boss Film the public what the current state of the nominees is available at www.ve- 960-8035. Studios, which produced visual ef- the art is. I know I always learn some- sawards.com. 8 SHOOT January 12, 2007 Hurwit-Helmed Pilot, Split the Difference, Might Take Flight On NBC Continued from page 4 ing and a little bit about the they do it. Split the Difference ing Crossroads in 1995. The commercial business. Narciso really reaffirmed the success of show also sheds a humorous thought it was such a good con- that. There’s so much electric- light on the not-so-glamorous cept he began jotting down his ity coming from these actors side of casting commercials. own ideas and it quickly turned that we put together. I think so “There are very few business- into 24 pages of copy. They put much has been done to scripts es where you can have as much the project off when Callahan by clients by the time they get emotion and as much at stake got pregnant, but last March to me that they are not what over playing a fish monster,” they shared it with Sash, who the creatives wanted in the first he said, referring to a scene was producing a commercial place. They usually want some- from the pilot. “It’s unbeliev- Narciso was acting in and Hur- thing more spontaneous and able the fights that would hap- wit was directing. Sash shared this is a way to get back to it.” pen where people would liter- it with Hurwit who immediately He said he will still make time ally want to kill each other over wanted in on the project. to do spots if NBC decides to what the fish costume is going He refers to this project as the shoot Split the Difference and to look like or whether the fish most rewarding of his career add it to its program lineup costume is a good idea.” because of the collaborative next fall. Narciso explained The crew shoots a scene for the Split the Difference pilot. Speaking of ideas, Split the effort among he, Callahan and they are tweaking the script for whole blended content thing shows the talent that is in the Difference sprung from a con- Narciso and because it under- the network and should find every one is trying to do. This commercial world and I think it versation between Callahan, scored the success of allowing out later this month if the show will be great, because it won’t shows the trend in the commer- a casting director at House for improvisation, something will go into production. hurt the story, it is the story,” he cial world. We’re in a confusing Productions in New York, and he has been incorporating into Hurwit also pointed out they said. stage where no one knows what Narciso, who’s been an actor in making spots. will try to get real advertisers to While the story is about the to do with Web and longer form New York for 15 years. They had “Even in my pitch with an buy into a season. They would commercial world, everybody spots. All of that drives you to- become friendly from audition- agency I say let’s use improv be pitched as part of the show involved in the project is also wards improvisational, thought ing. Callahan said she was writ- actors, give them points they and their commercials would from the spot community, mak- out creative as opposed to hit ing a sitcom focused on cast- have to make and let’s see how be part of the show. “It is the ing it gratifying to work on. “It the target and get out.”

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January 12, 2007 SHOOT 9 CHAT ROOM

Ron Lawner Celebrated Creative Director Retires From Arnold Worldwide

By Carolyn Giardina then acquired by Lawner’s friend and agency partner Ed Eskandarian As 2006 came to a close, Ron Lawner, the visionary creative and become Arnold Worldwide. leader behind a decade long series of commercial hits for A member of the Wall Street Journal’s Creative Leaders Series, Lawner client Volkswagen and memorable work for Fidelity Invest- has led the agency to international acclaim and creative honors that in- ments, American Legacy (“Truth” campaign), Royal Carib- clude the ’98 Cannes Grand Prix for a Volkswagen Beetle print campaign, bean, Jovan Musk and Kinney Shoes, completed a 25-year as well as many awards including The Grand Effi e, D&AD, Kelly Awards, career with Arnold Worldwide. Lawner held the position of One Show Pencils, Clios, London International Awards and ANDYs. Ar- vice chairman, global chief creative offi cer, and was based nold Worldwide has been on the Gunn Report’s top creative agencies list in Boston. since its inception in ‘99. Lawner expects that his life outside of Arnold’s Lawner began his career as a freelance copywriter in New Boston headquarters will involve more time in a consulting capacity and York; after graduating from Adelphi University, he came to serving on a variety of boards. As a collector of contemporary art, he has Boston and continued his writing career with a number been involved with the Institute of Contemporary Art and a Patron of of agencies to gain experience. Lawner joined Humphrey the Museum of Fine Arts in Boston. Browning MacDougall in ‘81, which went through a num- He intends to pursue charitable endeavors and continue his partici- ber of acquisition and name changes before it emerged as pation in MassProduction, a local organization seeking to bring more Lawner Reingold Britton & Partners in ‘90. This agency was commercial production to the Boston area.

SHOOT: What drove your decision to sure the attention is being placed on Lawner: I honestly believe that speed, it’s being smart so that you can easy thing to do. retire from Arnold? what I think is still the most power- it’s just another tool in the toolbox. move more quickly. There are produc- Creativity is subjective. I don’t see ful medium, the broadcast medium. Where it’s appropriate, it will be great. tion companies cranking out content. our craft changing a lot. Lawner: I’ve been part of the incred- The buzzwords today are nontradi- Where it is not, it won’t. You have to They are on the way to becoming the ible success of this agency and my tional media, but I don’t know why decide what you’re using mobile for. agencies of the future...Agencies need SHOOT: Would you reflect on some identity is closely tied to the agency. that should take away from the craft. You have to be smart enough to be to get on the bandwagon. of your most memorable work at Now I’d like a little more flexibility Maybe it’s a distraction. where they’re looking. Arnold, including your Volkswagen in my schedule for more accomplish- Arnold was an integrated agency SHOOT: What is your view on the “Drivers Wanted” campaign? ments outside of these walls. I’m still before it was cool to be integrated. SHOOT: What do you think agencies state of creativity in the business? surprised and inquisitive about what Arnold was way ahead of our time need to focus their attention on, as Lawner: I had the luxury of build- goes on in the world of communica- on this. One thing that helped was we these changes occur in the advertis- Lawner: I don’t think creativity is ing relationships with client trust, and tions, but I’m also ready for the next had one bottom line. So there were ing industry? suffering... I think media is creative. creating great work. adventure. I’ve been approached to not competing disciplines. So we did Whether it’s mobile or web that has I’ve had some great clients. Jovan direct independent films and that is Musk was one of my favorites. It something I’d consider as well. My During Lawner’s tenure combined color and black and white. life is quite full. I’m going to see what I looked at it recently when going comes along. There’s a whole world at Arnold, among the through my things at Arnold, and the out there, all I’ve done is advertising. standout work was the stuff was 20 year ago and still stands I’ve left some very talented people up. It was modern, the casting, the I’ve known for a long time. I have faith advertising for Volkswagen, music...and it was effective. I read that in Arnold and I wish them the best. sales increased 25 percent. We asked, which won a Cannes Grand “What is Sexy?” A look? A glance?...it SHOOT: How would you describe the Prix and other honors. was a fresh idea, and it worked. That’s state of the commercial advertising the joy of advertising. business? For Volkswagen [a decade of highly what was right for the brand. What is Lawner: Agencies need to listen to taken the forefront, creativity has regarded advertising that include the Lawner: I’m seeing less of the craft. the best way to reach the customer? their clients. Literally see what clients been a little overshadowed. But the ’98 Cannes Grand Prix for the Volk- By that I mean less of the craft that By not having pressure for each de- are facing today and respond. I don’t new creativity is the media. My hope swagen Beetle print campaign], we was to try to make a spot as close to partment to be a profit center, we think there is a lot of hand holding. would be that there is no substitute never worked on a car before. We had perfect as possible...I’m seeing more could focus on what is right. That Decisions have to be made faster; for good creative when it is mobile an interesting audience—educated, disposable work. It’s in, it’s out, and makes a big difference. content has to be made quickly. You or the web. I do think the media has interested in life, they were drivers not meant to have a life past its media Alternative media are just more need a strategy, execution...it’s a fairly taken over a little bit. It [creative and in the sense that they would explore run. tools in the toolbox. long process. It has to be faster, and media] really needs to be integrated, a little... We created work that offered that means changing the model a but most agencies are not structured a club for people who didn’t want to SHOOT: What do you think has driv- SHOOT: Mobile content delivery is in little. You have to be face to face with that way. join a club, people who see things a en that change? its infancy in the United States, but is the client. You have to streamline [Great advertising is still about] a little different. receiving a lot of attention. And, mo- service. You need designers [writers, good idea, elegantly produced, that We never changed that voice. “On Lawner: I’m not sure. Corporate bile content is also advancing interna- etc.] sitting together to tackle a proj- taps into the consumers hearts and the road of life there are passengers culture had changed a bit...there are tionally. What are your thoughts on ect. That’s what we did at Arnold. It mind. That’s not going to change. and drivers. Drivers wanted”—it in- more outlets for creative. I’m not mobile opportunities? all boils down to speed. It’s not just That takes a lot of talent. It’s not an vited you in. 10 SHOOT January 12, 2007 Commercialmakers To Make Their Mark At Sundance Festival

Continued from page 1 He said he looks forward to em- just completed an eight-part series for Chicago 10 explores the build-up ploying motion capture in future the Sundance Channel called Nimrod and aftermath of the week-long anti- commercial endeavors and continu- Nation, inspired by his ESPN “Nim- war demonstrations staged during the ing to explore new and different ways rod” commercials. “I created the se- 1968 Democratic National Conven- to approach nonfiction, adding that ries and executive produced it with tion in Chicago, throughout which most of his commercial work is rooted Kevin Proudfoot at Wieden + Ken- protesters clashed with the Chicago in nonfiction. nedy. So for the past two years I’ve Police Department and the National been slammed. However, now that Guard. Following the protests, eight Taking a stand everything is done, I am dedicating of the most vocal activists were held What attracted him to the political myself full-time to the commercial accountable for the violence and events of the 1960s was Colin Powell’s world and look forward to an active brought to trial in ‘69. Morgen mixes presentation of the U.S. case for en- and exciting 2007.” original animation with archival foot- gagement in Iraq. “I expected there to age to explore the buildup to and un- be some form of protest in the streets. Additional fare raveling of the infamous conspiracy But it never came. I felt that I wanted Other Sundance features with spot- trial, pushing the boundaries of tradi- making ties include: tional documentary filmmaking. • Protagonist, from documentary “I set out to make a historical non- filmmaker Jessica Yu, who directs fiction film without interviews or nar- commercials for bicoastal Nonfiction ration. I wanted to present the events Spots, is a documentary exploring the in the present, to bring the past into organic relationship between human the present. Trying to construct a life and Euripidean dramatic struc- narrative out of pre-existing material ture by weaving together the stories was a challenge I wouldn’t wish on of four men—a German terrorist, a anyone. There were times when I felt bank robber, an “ex-gay” evangelist A scene from Chicago 10 that it simply couldn’t be done. and a martial arts student. “I love the idea of pushing the • Director/screenwriter JJ Lask, miserable marriage and life by pover- • A dramatic piece, High Falls, genre, of challenging the audience who edits spots for P.S. 260 New ty and her inability to access her own directed by Andrew Zuckerman of to ask themselves what is nonfiction. York, brings On the Road with Ju- personal strength. Then she meets bicoastal/international @radical me- This is probably the first animated das to Sundance. Reality, fiction and the handsome new gynecologist in dia. During a weekend at a country historical non-fiction film, but I don’t Brett Morgen the notions of storytelling intertwine town. When a friend encourages her home, a man and his pregnant wife think it will be the last.” in this narrative, scored by bicoastal to write a letter to her unwanted baby, each tell their secrets to their best When Morgen started the film, he to make a film that would remind Human, about a young thief and the an unexpected love story develops friend—placing them both in an awk- wanted to use traditional 2D anima- people about the need to take a stand. woman he loves. that changes Jenna’s life. ward position and their own relation- tion to illuminate everything he didn’t We live in an era where people seem • The Pool, directed and co-written • Son of Rambow, directed by Garth ship in jeopardy. have footage for. He hired a company to think that sending a 10-dollar con- by Chris Smith of bicoastal Smuggler. Jennings of Anonymous Content. Set • An animated film, One Rat Short, in England to do the job, but the result tribution to a political party is a form The film tells the story of a boy work- in the 1980s, the film stars Will, who written and directed by Alex Weil, ex- was “a representation of what was go- of protest. Most Americans do not sup- ing in a hotel who becomes obsessed isn’t allowed to watch TV or go to ecutive creative director of of Charlex, ing on, not the experience of what was port this war, but you wouldn’t know with a swimming pool at a home on the movies and expresses himself New York, which produced the short. going on,” explained Morgen, who de- it if it weren’t for the pollsters.” the hills of Panjim Goa in India. His through drawing. Then he finds him- One Rat Short tells the tale of a sub- cided to walk away from the deal and He decided early on that Chicago life gets turned upside down when he self in the extraordinary world of Lee way rat who is led by the mesmeriz- move on. A few weeks later he met 10, five years in the making, should attempts to meet the mysterious fam- Carter, the school terror and crafter of ing ballet of a discarded food wrapper with people from New York-based be infused with a youthful spirit since ily who arrives at the house. bizarre home movies. into an adventure of love and loss on Curious Pictures and they showed youth movements have often brought • Rocket Science, directed and writ- • Adrift in Manhattan, helmed by a dark Manhattan night. At last year’s him a motion capture demonstration. on social change in this country. ten by Jeffrey Blitz, whose spotmak- director Alfredo de Villa, who has Siggraph confab, the film won the “I figured mocap would be way out- While he admits it’s arrogant for any ing home is Anonymous Content. In Hispanic representation through La Electronic Theater’s prestigious Best side my budget range, but they made filmmaker to think that he can create this feature, a 15-year-old boy from Banda Films, Los Angeles, and pro- of Show honor as well as the Siggraph the numbers work. With motion cap- some sort of social change through New Jersey with a stuttering problem duced by Washington Square Films, ‘06 Computer Animation Festival’s ture, I was able to have total control film, he is hoping Chicago 10 is able to falls in love with the star of the debate New York, with a score by composer People’s Choice Award. over the character’s movement and reach a youth audience and mobilize team and finds himself suddenly im- Michael Levine of Michael Levine • And A Nick in Time, edited by create a fluidity and emotional range them, regardless of whether they are mersed in the ultra-competitive world Music, Topanga, Calif. Set in New Charlie Johnston of bicoastal Lost that would have been unachievable Republicans or Democrats. of debating. York City, the feature weaves three Planet, tells the story of an old school in 2D on our limited budget.” In addition to Chicago 10, Morgen • Director Davis Gordon Green’s intersecting tales about a grieving eye barber who recounts a story from his Snow Angels. Green’s spotmaking doctor forced to take a closer look at past to teach a lesson to a troubled roost is bicoastal Chelsea Pictures. her life; an aging artist confronting young man. This drama interweaves a teenager the loss of his eyesight; and a young with his former baby-sitter, her es- photographer battling his innermost For The Record tranged husband and their daughter. demons. In the Top Spot of the • U.K. Director Nick Broomfield, • Girl 27, a documentary edited by Week (12/15/06), the main repped for spots by Santa Monica- Tessa Davis of bicoastal Cosmo Street. production house credit based Plum Productions, brings When underage dancer Patricia for Intel’s “Creativity” was Ghosts to Sundance. Based on a true Douglas is raped at a wild MGM stag omitted. “Creativity” was story, Ghosts is the tragic account of party in 1937, she makes headlines actually contracted through an illegal Chinese immigrant woman and legal history. This film follows au- DNA, Inc., Hollywood, Calif., as she struggles relentlessly for a bet- thor/screenwriter David Stenn as he which in turn subcontracted ter life in the U.K. investigates the Hollywood scandal. the project to Pagan, London. • Waitress, from director/screen- The job was director Vaughan writer Adrienne Shelly, who helms Short Films Arnell’s last at DNA; after it spots via Sugarbox Studios, New This year the festival selected 71 was wrapped, Arnell dissolved York. The film follows a pregnant short films, representing 19 countries. Pagan and then joined Blink, Heather Graham grieves the loss of her child in Adrift in Manhattan. southern woman trapped inside her The lineup includes: London, and U.S. shop Furlined. January 12, 2007 SHOOT 11 Top Spot of the Week Director Aleysa Young Tackles Life’s Big Questions With A Squirrel’s Help By Christine Champagne anymore, people who feel that the concoct a rather complex backstory on the backs of dangling acorns mo- Who has the easy answers to life’s big church is judgmental and too dog- for the E-Z Answer Squirrel. Accord- tivated the squirrel to reach for the questions? The E-Z Answer Squirrel, matic,” Roberts explained. ing to Young, a man had actually hit “Yes” and “No” nuts. according to a humorous viral video Those fed up with organized reli- the squirrel while backing out of his Ross Birchall of Bijou, Toronto, for the United Church of Canada cre- gion don’t constitute an easy target to driveway. Consumed with guilt, the cut the viral, and Bonspiel Music, To- ated by Toronto-based Smith Roberts reach, of course. After studying adver- man took the squirrel in and nursed ronto, produced the groovy blaxploi- and directed by Aleysa Young of Un- tising for other religions, the agency it back to health. In the process, he tation-style track that accompanies titled, Toronto. found that a lot of the messages were realized this squirrel had a gift for it. “We had written it into the script The 72-second viral finds average repetitive. “How many times can you answering questions with “Yes” and that the music had some feeling of people posing queries such as, “Is tell people you care for the homeless “No” nuts and built a stage in his Shaft, blaxpoitation feel. We had no the soul eternal?” and and the sick and the garage for the animal to indulge his idea why,” Roberts laughed, “but it “Does God hate me needy?” Roberts re- passion. The man was so dedicated to felt right.” because I’m gay?” lated. the squirrel that he began to neglect The viral struck a chord with the The E-Z Answer Seeking to break his wife, causing her to say, “You love Canadian media. It was the subject of Squirrel, a real, gray through the clutter as that squirrel more than you love me!” stories on the country’s major televi- squirrel, then answers well as disarm those Why develop such an involved nar- sion outlets, including the CBC net- each question by pull- with preconceived rative? “It just helped me tell the sto- work. And the viral will soon return to ing on acorns marked negative notions about ry,” Young said laughing. “It helped TV—albeit it in shorter form. Accord- “Yes” and “No.” organized religion, me put it all into context and explain ing to Roberts, it is being cut down At the end of the Smith Roberts chose myself and where I was coming from into a 30-second PSA through which spot, those who are to create a light, hu- to the agency.” E-Z will be soon be imparting his wis- interested in engaging morous viral. “It was The creative team at Smith Rob- dom over the Canadian airwaves. in a deeper discussion Aleysa Young a way past the barri- erts appreciated Young’s backstory The United Church of Canada of life’s big questions are directed to ers and a way to show these people as well as her ability to cast solid per- piece is the latest endeavor that has Wondercafe.ca, a website sponsored the church is not really what they formers. Prior to becoming a director, caused Young’s stock to rise as a di- by the United Church. thought it was,” Roberts said. Young had worked as a casting direc- rector. Back in October, she was one The goal here is to introduce those Additionally, the agency whipped tor. “That benefited us a lot because of a handful of directors singled out in the 30 to 45-year-old range who up Wondercafe.ca, the site on which we were very limited in budget, so we as up-and-coming helmers in the fall may have lost faith in organized reli- the viral debuted. Containing videos didn’t have a large talent pool to draw edition of SHOOT’s Directors Series. gion to the United Church, according and forums, Wondercafe.ca serves as from, and she managed to bring in Young broke into the spot directorial to Smith Roberts’ creative director/ a place for people who are curious people I think really gave us the feel ranks a little more than a year ago. art director Malcolm Roberts, who about the United Church to explore that we wanted,” Roberts praised. conceptualized the viral with creative it without having to actually set foot director/copywriter Brian Smith. in a church. Real feel top “We weren’t talking to atheists Young was immediately sold on “They were more real people,” obviously, but just people who don’t the non-preachy viral and threw her- Young said, noting, “It was impor- see the church as relevant to them self into the project, going as far as to tant for them to come across as real, Spot so it almost worked to our benefit to of the week have had non-professional actors who didn’t overthink everything.” CLIENT While the human actors do their United Church of Canada jobs well, the real star of the spot is AGENCY the squirrel. Trained squirrels aren’t Smith Roberts, Toronto so easy to come by. Beyond about 10 Malcolm Roberts, creative director/ weeks of age, they aren’t gentle, so art director; Brian Smith, creative Untitled found an animal trainer, Jim director/copywriter; George Ar- Lovisek, who came upon a two-week cher, producer. old orphan squirrel and reared him to PRODUCTION COMPANY eight weeks. Untitled, Toronto Lovisek’s tender loving care and training turned the squirrel dubbed Aleysa Young, director; Simon Mes- E-Z into quite a fine thespian. “He did tel, DP; Tory Osler, executive pro- what we needed him to do in remark- ducer; Rosalynn Hegan, producer. Shot on location in Toronto. ably less time and less takes than we ever thought it would be,” Roberts EDITORIAL said. The video was shot in just one Bijou, Toronto. 12-hour day. Young and her crew, Ross Birchall, editor; which included DP Simon Mestel, shot on 35mm film at locations in and POST/VISUAL EFFECTS around a downtown Toronto commu- Technicolor Creative Services, Toronto. nity center. Randy Perry, colorist; Darren Achim, online artist. Rigged acorns #,)#+(%2%4/6)%730/4 E-Z’s scenes were filmed in just two MUSIC/SOUND DESIGN/AUDIO hours in a room at the community Bonspiel Music, Toronto. Toronto agency Smith Roberts decided to go nuts for client the United Church of Canada, employing a sage squirrel to reveal life’s answers, to change center, where a stage was built for perceptions about organized religion and to help draw new, young congregants into the church. The viral is being cut down to a broadcast :30 PSA. him. Nutella and peanut butter spread 12 SHOOT January 12, 2007 The Best Work You May Never See MARC USA Takes ‘Plunge’ For Pittsburgh Zoo By Robert Goldrich Pre-production work included Navy Seal divers scouting the underwater Just when you thought it was safe to get back in the water, it isn’t—at least in area for anything that might endanger the swimmers plus regular checks of this tongue-in-cheek :30 titled “A New Plunge” for the Pittsburgh Zoo out of the water current speed by the River Rescue team. To further ensure safety, agency MARC USA, Pittsburgh. The offbeat twist is that instead of a fin at- River Rescue remained on location throughout the shoot, which had to be tached to a great white shark, the telltale danger sign is fur from a great white stopped several times when the Just Ducky tour boats passed by. polar bear. That sighting sets off a panic that gets an otherwise brave, hearty MARC USA senior art director Dena Mosti explained that to create the feel crew to scurry out of the drink, fearing for their safety. of a Polar Bear Clubber’s home movie, the :30 was executed in one consecu- The spot features Pittsburgh’s own Polar Bear Club about to take its annual tive shot—albeit with many takes to get the desired effect. The DP was Stephen Polar Bear Plunge in a freezing Allegheny River. You have to be a bit crazy to Hunter. wear a relatively skimpy swimsuit and then jump into near frigid water. But this The visual trickery wasn’t confined to meshing the stock bear footage into group isn’t crazy enough to remain in the river upon seeing a huge polar bear the Allegheny. Though the commercial just recently debuted (on Pittsburgh swimming about. The scenario begins with and focuses on Jack, who’s about stations and the local outlets for Animal Planet, Discovery Channel and TLC), to take his first plunge. (Jack is the only professional actor in the bunch.) He’s it was actually filmed in May 2006 as the temperature hovered around 90 de- surrounded by veteran Polar Bear Club members of all ages who are already grees. Part of the chilling “challenge,” said Killen, “was to create the look of a getting wet in the freezing H20. Jack talks to someone off camera. “You have gray and cold January day.” my keys,” Jack asks, as if looking for an excuse not to go into the river. Yet alas his keys are safe and there’s no reason not to hit the drink. Winter wonderland Finally Jack somewhat reluctantly heads into the water. But at that point, To create the illusion of a wintry environment, handmade snow was used. he finds his excuse, spotting the polar bear. He screams out “Bear” repeatedly, Animal’s sleight of hand also included the removal of telltale warm weather pointing out into the distance, alerting his fellow club members. Panicked, they greenery, and the addition of falling snow, visible breath (employing 3D Stu- rush out of the river.” dio Max) and fog. A supered message reads, “The real bears are back,” accompanied by a logo The Marc USA creative team consisted of Mosti, creative director Ron Sul- for the Pittsburgh Zoo and PPG Aquarium. livan, senior writer Jason Fotter and producer Beth Fornaro. The spot serves as the perfect attention-getting warning to Pittsburgh resi- dents that polar bears are returning to the Pittsburgh Zoo and PPG Aquarium Client Pittsburgh Zoo/Pittsburgh Aquarium Agency MARC after an eight-year hiatus. The twin, two-year-old bears will be part of the Wa- USA, Pittsburgh Ron Sullivan, creative director; Dena Mosti, ter’s Edge exhibit, scheduled for completion in April, featuring a large viewing senior art director; Jason Fotter, senior writer; Beth Fornaro, window and two underwater tunnels for an up-close experience with the ani- producer. Production Company Animal, Pittsburgh Michael mals in the exhibit, which will eventually also include sea otters and walruses. Killen, director; Nancy Richert, producer; Stephen Hunter, DP. Editorial Animal J. Frink, editor Post/Visual Effects Animal Jim Kreitzburg, Allan Stallard, effects artists Stock Footage Keeping track Fotosearch.com Audio Market Street Sound, Pittsburgh Rob Pittsburgh-based production house Animal deployed computer graphics to Deaner, sound designer/audio post mixer Principal Actor Tom put wild bear footage into the live-action scene of Pittsburgh Polar Bear Club Kurland swimmers entering the water. Animal scouted a section of the downtown Pitts- burgh river that would match up with the footage of the polar bear in its origi- credits nal watery habitat. “We worked closely with River Rescue, placing buoys in A different kind of great white sighting. the river to determine tracking points to place the bear in the correct location,” said Animal Director Michael Killen. “We rehearsed moves and points to be hit in the story, which had to be done in a single 26-second take, making sure the sunlight’s direc- tion matched the stock footage.” Animal compositor Jim Kreitzburg utilized Dis- creet Logic’s Flame to remove the old water and composite the bear into the river water, taking care that the water looked realistic along the edges of #,)#+(%2%4/6)%730/4 the bear’s body.

There are Three Steps to Reserve Ad Space Today: East/Midwest/Canada Creating Early ‘07 Word of Mouth Buzz. Robert Alvarado 203.227.1699 ext. 15 Advertise in SHOOT’s [email protected] West Coast 1. 2. 3. Carl Gilliard Jan. 26 ‘07 Issue Feb. 9 ‘07 Issue Feb. 23 ‘07 Issue 818.763.2678 [email protected] MIDWEST ADVERTISING AGENCY NEW YORK International PRODUCERS Roberta Griefer CINEMATOGRAPHERS & PRODUCTION MUSIC & SOUND 203.227.1699 ext. 13 CAMERAS COMPANIES [email protected] CHANGING VISUAL EFFECTS & STOCK FOOTAGE & CHANNELS: Recruitment/Classifi ed Kelly Boyle ANIMATION MUSIC LIBRARIES Digital Media Analysis Super Bowl Ad Preview Sundance Wrap Up 203.227.1699 ext. 14 [email protected] DGA Commercial Winner VES Award Winners Super Bowl Ad Critique Ad Deadline: Jan. 19 Ad Deadline: Feb. 2 Ad Deadline: Feb. 16

January 12, 2007 SHOOT 13 iWork NFL, Atmosphere BBDO Help Playoff Fans Jump Onto The Bandwagon Interactive Website Matches Fans With Teams Still Alive In The Postseason

By Nicole Rivard At the beginning of the football season I was determined to pay closer atten- tion to the game and become a better fan. I wasn’t sure which team to root for though because there are so many to choose from, and truth be told, I didn’t know much about any of them. But since I’m an equestrian and love horses, I decided I should cheer for the Indianapolis Colts. It just seemed logical to me. It’s that same kind of off-the-cuff logic that the NFL and interactive agency Atmosphere BBDO have tapped into with the creation of the website nfl.com/ bandwagon. Although ratings are great during the playoffs and momentum is strong, there are a lot of fans out there following the playoffs and their favorite team is not necessarily alive anymore. So the NFL wanted to launch an immersive online experience that will allow people to latch onto—in a fun way—a playoff team that matches their personality or interests. #,)#+(%2%4/6)%70!'% “What we wanted to do was get people to watch the playoffs and have a team to root for even if their team was eliminated. That way they will have as much The NFL’s new website matches visitors with the playoff team that best matches their interests.. to root for as the fan whose team is still alive,” explained Atmosphere’s creative director Patrick Clarke, who also helped NFL launch NFLrush.com in 2006. League starting the first week of NFL season until the week after the Super The interactive website, geared to fans in the 6-13 age range, has become the Bowl. Getting Kalas on board was key to the success of this endeavor, according gateway to all things young and fun in the NFL. to O’Reilly. The way nfl.com/bandwagon works is bandwagon partici- “All of the games we developed with Atmosphere for NFLRush taught us Client: NFL Agency: Atmosphere pants are first asked who their favorite team is. Then they are the importance of doing things only the NFL can do—things like the My High- BBDO, New York Andreas Com- whisked away to a virtual locker room where they have to lights Game where you can upload your face onto an NFL highlight and see buechen, chief creative officer/CEO; answer five questions, some completely unrelated to football. yourself in an NFL game are the types of things that are so authentic NFL and Patrick Clarke, creative director; For instance, during one of my visits. I was asked, Letterman that are fun...and could only be pulled off by us. And that’s how we felt with John Heath, associate creative direc- or Leno, night or morning person, bling or no bling, on the this. It is the authentic and real voice of the NFL in Harry coupled with some tor / copywriter; Brett Simon, associ- ate creative director /design; Donna edge or play it safe. It’s randomized so each time you visit you pretty fun stuff.” Farmer, director of production; Jason might get a different batch of questions and answers. Sindel, producer; Marc Macaluso, “That was important because we knew, and certainly from All aboard the bandwagon tech lead; Billy Kersnowski, senior the data we’ve seen so far, a lot of people are going through After visitors discover their bandwagon team, they find out when the game is flash developer; Kenny Lin, flash de- again and again. You want it to be fresh and different, some- for that team so they can tune in. They can also play again, check out the NFL veloper; Garrett Franklin, account credits director; Lauren Movshin, account thing they will pass along to their friends,” said Peter O’Reilly, shop or NFL Playoff News or share the bandwagon site with a friend. While supervisor director of marketing for the NFL. the viral nature of the campaign is what drives it, it is also being promoted via The site then calculates a participants’ responses and as- banner ads and a spot. signs them a corresponding team and With a few of these interactive initiatives under its belt, the NFL is happy explains the logic behind the choice. with the results and is poised to continue to tackle the new medium. For example, if you chose Letterman, “What we are starting to see is clearly the avid NFL fan that watches ev- it means you should root for a team ery game and is engaged by the NFL completely is into this and is passing it that plays on the East Coast, if you around,” explained O’Reilly. are a night owl, you should support “There’s lots of chatter and blogging going on. But it’s also drawing the more a team that plays late games. And if mainstream fan into it, people who have a favorite team but may not be en- you like bling, you want a team with gaged 24/7 with the NFL because this type of experience also brings in pop a Superbowl ring. culture... it’s not only bound to football type of experiences. That is something “What we think is so fun and why we are pleased with. this appeals to mainstream fans is the “It will lead us to doing and developing more of these types of immersive questions aren’t so football related,” experiences.” related Clarke. “The questions are He pointed out that in the past, especially for something like the playoffs, the kind of blind—there’s a logic to them NFL’s campaigns have been primarily centered around TV. “But we know fans but you don’t get the logic behind are spending a lot of time online. So it’s become about how we can create an them until the end. anchor experience that we can then support offline through TV and print. With “When visitors are asked facial Atmosphere it’s been great experimenting and having some real successes that hair or no facial hair, they think, we can build on for next season.” ‘What does this have to do with why While nothing is set in stone, he said a lot of things are on the drawing board. I would root for a team?’ And then They are looking at building interactive experiences during offseason time peri- they’re like, the team has a coach ods. He sees opportunities in the NFL draft, which has grown into a huge, heav- with a mustache.” ily followed event, and even training camp perhaps. There is also talk about doing a kid-friendly version of the bandwagon for NFLRush. Doing it the NFL way “They’re deciding in those elementary school years what team they should The questions are posed and an- be rooting for. You can ask them similar questions and match a team to their swered by Harry Kalas, the voice of personality and interests,” said O’Reilly. the NFL. Kalas is well known for nar- In the meantime, he said that the NFL is thrilled overall with its interactive rating the highlight segments of In- initiatives so far. side the NFL, the weekly sports show “We’ve come a long way in the last year in terms of building out some really that focuses on the National Football rich, interactive experiences.” 14 SHOOT January 12, 2007 AGENCY CREATIVE DIRECTORS

Networking For The Future

A tale of two networks. It could be the best of times for cre- ativity, and the worst of times for those agencies that fail Saber Hacer, to tap into all their in-house creative resources, including those outside the designated creative department. The alluded to online networks entail collaboration NoStankYou between WongDoody, the independent ad agency with shops in Seattle and Culver City, Calif., and its interactive and technology development division, United^Future. Sites Refl ect The creative genesis of one network—NoStankYou.com for client the Washington State Department of Health—has already been chronicled in SHOOT (10/27/06 iWork), with TV New Creative and radio spots helping to drive teen traffic to the site. The other network, Saber Hacer (saberhacer.com; Spanish for AKnow-How Now), is currently in beta test with plans for a major Opportunities rollout in three markets—including Los Angeles and Chicago—in about three months. The client is veteran TV news anchor Michele Ruiz, with the backing of an undisclosed firm. SaberHacer.com is designed to serve the rapidly growing Latino commu- nity with relevant news and information. On the beta site, for example, there are news stories on the identity theft crisis as well as the check-cashing store By Robert Goldrich industry. A significant number of Latinos in the United States who are wary of banks have become regular customers of check-cashing stores. The news story on the Saber Hacer network points out that a premium, often exorbitant, is being paid for the “convenience” of these outlets, which are used for not only check cashing but also wiring money to relatives outside the United States. Currently there are about a dozen video news stories on the network site, which web surfers are already plugging into, with word of mouth bringing additional people to the network. Plans call for the news story inventory to increase to at least 50 when the formal three- market launch takes place. And the blueprint calls for the network to eventually be advertiser supported, with spe- cial brand sponsorship opportunities in the offing. Client Ruiz—the president of Saber Hacer and a former 6 p.m. news anchor at ket, another potentially expansive dynamic for the agency. KNBC-TV, the NBC station in L.A.—came to United^Future to help design and WongDoody didn’t even need a conventional client to establish this foothold; develop the broadband network, which users can access in English or Spanish. instead the catalyst was the creation of a broadband network by the agency’s “They [Ruiz and the investment firm] weren’t even thinking in terms of interactive sister shop. coming to an agency at first,” relates Scott Holmes, managing partner of United^Future. “Instead they sought out an interactive firm, which led them to NoStankYou us and in turn WongDoody.” The integrated campaign for the aforementioned NoStankYou looks to But the fortuitousness of the situation for WongDoody underscores the op- reach youngsters based not on the dire life or death consequences of smoking portunities emerging from varied unexpected sources for agency creatives. “As but rather the nasty habit’s negative impacts on one’s physical appearance and we get closer to the official launch, we will help to shape the branding and iden- social life, both of critical importance to most teenagers. tity of the network through a promotional campaign and ID package,” relates WongDoody and United^Future teamed to develop the network and its Michael Boychuk, creative director at WongDoody, Culver City. “We will be original content, including short-take messages and the “No Stank You NOW” branding the network and driving traffic to it.” video log, an online news/entertainment show hosted by local teens, for teens, The experience with Saber Hacer, continues Boychuk, is also driving the on the social risks of tobacco. The vlog features interviews with peers, state of- agency to think more expansively in terms of formulating networks when ap- ficials, dentists and professional athletes, among others. The site also contains propriate for other clients in tandem with United^Future. irreverent, interactive and portable content. Users are given code snippets for And Saber Hacer brings WongDoody into the burgeoning Hispanic ad mar- Continued on page 16 January 12, 2007 SHOOT 15 AGENCY CREATIVE DIRECTORS

Networking Helps To Uncover New Creative Outlets

Continued from page 15 One group has to teach the other and vice versa, making everybody more of avatars, comment images, emotions and more to post into blogs, MySpace and a hybrid creative, a mix of creative and technical sensibilities that in the end YouTube pages, personal websites and mp3 players. News pages offer rotating benefit the client in the integrated marketplace.” factoids about tobacco use. Wong believes smaller entrepreneurial shops like his have a leg up when “It’s an online entertainment network,” says Tracy Wong, chairman/execu- it comes to creating relevant integrated campaigns spanning varied media. tive creative director of WongDoody. “Teenagers are on the Internet. And in “Generally the people having more success with the integration model are the smaller agencies,” contends Wong. “The huge agencies with more than $250 “Being a small ad agency, we have always been a million in billings and that are part of big holding companies are struggling in democracy when it comes to getting ideas from this regard. They talk about integration but it’s not happening. “For us, I won’t say it’s been painless but it’s been a lot easier,” he continues. anyone and everyone here....[As a result,] we can “We got into this years ago because of our clients’ spending levels. Our clients explore and take advantage of new opportunities.” say, ‘We don’t have enough money for TV or to put everything into TV, so what can we do? What is the best way to spend our money?’ That’s when in- —Michael Boychuk tegration kicks in because there’s no one answer anymore...But when you’re a this case true engagement with the target has to come on the web, not from large agency and paid by traditional media, it’s heresy to go against that. As a TV. The web is the only way we can get teenagers’ time on their terms so that result these big shops tend to have an integration team in one building, and the they can dive deep into information.” creative team in another. Their resources are siloed, which leads to a mentality The number of unique visitors to the NoStankYou site is growing by approx- in which the traditional creatives tell the interactive guys ‘to do some banners imately 20 percent each month since it launched on Sept. 25. New vlog episodes around our ideas.’ There’s no truly meaningful creative dialogue.” are posted on the online network every three weeks. Wong adds that in this scenario, creatives view the interactive division as something it was many years ago—”an IT department with nerds.” But that Collaboration isn’t today’s reality, he continues, citing creative interactive artisans such as the The creative rapport developing between WongDoody and United^Future aforementioned Holmes. is evident in the two online networks, and crucial to success in an evolving mar- Holmes, who co-founded United^Future two years ago after having played ketplace. “You have to come to view people in all departments of the agen- “[An agency] can’t fall into the trap of doing an cy as being creative,” says Boychuk, who’s been with WongDoody pretty online network just for the sake of doing one. It all much since its inception, becoming depends on the target. [That is why] Nostankyou its third staffer in Seattle before mov- ing down to the Los Angeles area in made perfect sense...” —Tracy Wong ‘98 to co-found the agency’s Southern California office with managing partner a key role in the development of Zentropy Partners, Los Angeles, McCann Er- Ben Wiener. ickson’s interactive agency, concurs that creative collaborations involving the “Being a small advertising agency, we have always been a democracy when different agency departments are pivotal, as evidenced by the online network it comes to getting ideas from anyone and everyone here,” continues Boychuk. endeavors, which also include an ambitious site for client Alpine. “That has served us well, particularly when it comes to our interactive division... “This isn’t the model where an NBC or ABC creates an online network in or- I think creatives generally—I know I do—have a fear of technology. But through der to drive traffic to the linear broadcast network,” relates Holmes who notes United^Future and by regarding the interactive people as creative contributors that the web networks being created by United^Future and WongDoody are and equals, we can explore and take advantage of new opportunities, like the the end destinations that help to attract, entertain and inform target audiences. online networks we’ve created.” At the same time, cautions Wong, “You can’t fall into the trap of doing an Wong affirms that perhaps the greatest challenge for agencies today is to online network just for the sake of doing one. It all depends on the target. NoS- create a working creative relationship between traditional creatives and tech- tankYou made perfect sense because teenagers live on the Internet and if you nologically based people. do things right, you have the potential of having a longer discussion with them “I talked to Nick Law [chief creative officer, North America, for New York- there. But an agency is making a big mistake if its rationale is, ‘Let’s be on the headquartered R/GA] at a creative conference and his main message was just web and have a channel thingy. We’ll do some crazy promotion on the network that—the pressing need to build a bridge uniting these people within the agency. or throw some games on the web to show we’re contemporary.’ ”

Future Speak Mike Wolfsohn, VP/creative director, Ignited Minds, Marina del Rey, Calif. Creative Directors Sound Off On What’s In Store For ‘07 I expect to see a rapid evolution in the meaning of grassroots marketing as Editor’s Note: As this Agency Creative Directors Series section’s lead story reflects, new communica- more brands stop trying to invent advertising icons like the Verizon guy and tion opportunities are emerging for creatives. In that spirit, SHOOT sought out observations from start tapping into the expansive network of YouTube stars who bring with creative directors as to what they envision for the new year. Here’s a sampling of their feedback (with them an existing fan base and inimitable authenticity. I don’t subscribe to more to come next week): theories about the death of the :30 spot. And I abhor any reference to “viral video” as a medium. (Hoping something will be passed along by consumers Bruce Bildsten, creative director/partner, Brew, Minneapolis isn’t much of a media plan.) Nor am I implying that user generated content will replace the profes- I believe ‘07 will see the acceleration of the industry transformation we sionally produced TV spot; after all, online clutter makes competing for eyeballs on TV seem easy. witnessed in ‘06 and ‘05. As a 21-year Fallon vet who recently started my But as our agency has already seen, the vast online video repositories will be the place a lot of us own “new breed” agency, I may be biased, but I think you’ll continue to see begin the casting process. bold work and surprising account shifts to upstart, forward-thinking shops as clients look for truly fresh approaches. We’ll see interactive (and perhaps José Molla, founder/chief creative officer, la comunidad, Miami even media agencies) begin taking more of the overall creative lead on major The collective imagination will be expressed more than ever. There’s a brands. However, by no means do I think large established ad agencies are very interesting democratization of content going on. Everyone of us is con- going to go away. Those who are well along the road to transformation—like BBDO and JWT—will stantly being exposed to all kinds of messages generated by everyday people prosper and be joined by one or two other sleeping giants. The losers will be the agencies that and a lot of it is very good. The speed of communication is changing radi- cynically believe it’s still “all about ads.” In this brave new world, the most valuable commodity will cally. People are always looking for new stimuli and the information loses its be creatives, directors, and production companies who truly embrace and deeply understand the relevance quickly. It’s getting harder and harder to surprise people and that interactive world those who bring a wider range of creative thinking to the table from day one. will have a great impact on what we do.”

16 SHOOT January 12, 2007

News

Industry Artisans Off er Observations, Predictions Re: 2007

Larry Bridges Allen Daviau Lance O’Connor Jonathan Keeton Mitch Dorf Continued from page 1 screen area available. It will be a wind- Lance O’Connor, executive producer/ posted and are airing in HD in addi- these technologies for use across ment/labor front, which could have fall for companies who do graphics. It partner, Aero Film, Santa Monica tion to playing on cinema screens. platforms and towards photorealistic a ripple effect on the advertising won’t be until 2008 that agencies and Right now the name of the game In fact, HD Net on cable has a 10 output will be crucial to advance the community. There is already some media architects discover Hi-Def’s is convergence. Aero Film has been minute program called Nothing But quality of digital effects work. concern over the fact that early nego- visual potential: textures, deep focus, very active in helping agencies get a Trailers. There is an historical prec- Simulation instead of animation is tiations between the Writers Guild of the arresting framing that you see in handle on all the new faces of advertis- edent. There was the same resistance rapidly becoming the key to convinc- America (WGA) and the Alliance of foreign films like Antonioni’s Il De- ing. The very footprint of advertising to producing commercials in color ing “invisible” visual effects animation Motion Picture and Television Pro- serto rosso (1964). is changing and we’re already a part when the transition from black and for feature films and commercials. ducers (AMPTP) on a new film and Antonioni was one of those early of it. No longer do we just have 30 white TV sets got underway. The TV contract have been nixed. The adopters who insisted that film and and 60 second spots to produce. It’s perception was that it cost more to Mitch Dorf, mixer, POP Sound, current pact expires on Oct. 31. Hi-Def were the same. No one lis- about interactive, it’s about cinema, produce and air spots in color, so ad- Santa Monica If an agreement isn’t reached in a tened. For goodness sake, we have it’s in-store video, it’s devices in your vertisers were waiting for more sets High Definition is definitely here timely fashion, the repercussions on Hi-Def 3D ultra sound now in hospi- car and on your phone. We’re doing to be installed. Once that transition and will continue to evolve with time. primetime program schedules could tals, but are babies any cuter? I don’t it now. Theater ticket sales are up 10 began, it happened almost overnight. Some of the formats that exist today cause advertisers to look further away think so. Come on Bruce D., we need percent this year, so we’re currently People are also starting to notice that could possibly be weeded out. HD- from broadcast television, accelerat- you more than ever. working with agencies and their cli- some very good television programs CAM-SR is becoming increasingly ing their plans to explore other media Prediction #3. YouTube, and ents to capitalize on that opportunity. produced in Super 16 film format are popular and appears to be the front- options. for that matter, all websites, will be (Aero is going to make an announce- airing in HD. I’m not ready to pre- runner—at least for the short term—be- And of course those other options replaced by private MMOGs, like ment regarding our cinema efforts in dict this is going to become a trend cause it handles compression better carry varied new content opportuni- “Second Life.” Everyone, I mean our a few weeks). in commercials production, but it is than other formats and offers greater ties spanning such platforms as the audience, that is “consumers,” will fly We’ve continued to grow and pros- something to watch. Super 16 produc- flexibility by providing more audio web, Video on Demand, digital video around new Supermarketing Internet per the past three years because of tion could trim some costs and offer channels. recorders, cell phones, PDAs and the in 3D, or (Web 2.0 however you wish this proactive approach. more mobility without compromising Data transfer will continue to be like, again underscoring the need for to call it), shopping, gossiping, do- As a production company, we’re picture quality.” used increasingly as a production me- new business and creative models for becoming more of a soup-to-nuts or- dium and, perhaps, as a delivery me- ing research, working, collaborating, production houses and the ad biz at ganization, while working with agen- Jonathan Keeton, president, dium as well. We already receive a lot stalked by targeted messages, all the large. And even if a WGA contract is cies and their new clients to bring Radium, San Francisco and Los Angeles of media via the Internet, whether it’s while wearing video sandwich boards finalized sooner than expected, new them into the future. We’re doing 2007 promises to increase the pace QuickTimes, OMF files or data files. displaying crisp video screens, (yes), major outlets are on the immediate production, post and even assisting of change in the industry. Ideas and People have really embraced this with their reels a playin’. In 2007 ca- horizon anyway, a prime example agencies with some of the creative on talent are still king however and will way of working. Although it may not reers and free time will merge, which being Anheuser-Busch’s scheduled a measurable amount of work. This remain so. We as a studio need to be happen this year, we might soon be will finally focus us on our real work, Feb. 5 launch of online entertainment help from us on the production side technologically agnostic, while at the delivering TV spots as data files and in the real world, where we are all network Bud.TV. And then there’s will free up agencies to concentrate same time demonstrating mastery eliminating tape altogether. the user-generated content dynamic. media architects, like our audience. their efforts and grow their businesses over a broad range of techniques and It’s already become routine to de- SHOOT canvassed industry folk for Who wants to take a crack at our new by moving into digital consulting. methodologies. The paradox will be liver radio spots in data formats. In their takes on what’s in store for ‘07. kitchen in Chicago? Production isn’t going anywhere, that, in being better at a variety of the future, we may receive data files Here’s a sampling of their feedback but it’s already changed. It isn’t just techniques we can be fairer to the that are higher resolution and less (with additional creative perspectives Teddy Lynn, senior VP/director about shooting the spot and step- unique, specific needs of any given compressed and we will simply do our in this week’s Ad Agency Creative Di- branded entertainment, Arnold ping aside. Agencies need more help project. Ironically as more and more layback to them. rectors Series section): Worldwide, Boston with clients than ever. Our work as a really gifted “specialty” shops pop up. People today often don’t arrive 2006 was a year when Arnold, production company has never been the “real” trend, considering all of the at the studio with a tape any longer. Larry Bridges, CEO, Red Car (Santa like many agencies, made changes more diversified and that’s always an different media outlets now available Soon, maybe they don’t have to leave Monica, San Francisco, Chicago, New and we expect them to continue into interesting and exciting place to be. to advertisers, will be in multifaceted, with one either. York, Dallas, Buenos Aires) 2007. We saw clients wanting to diverse studios applying a range of In 2006 it became clear everyone make a bigger impact for less money. Allen Daviau, ASC, possible solutions to projects in order had a reel. By everyone I mean our What that means to us is that non-tra- cinematographer to achieve the simplest and most ap- Editor’s Note: Look for further obser- audience, consumers. Search You- ditional media channels coupled with I believe more commercials will air propriate execution of a director’s or vations and/or prognostications about Tube... big ideas spanning those channels in high definition format in 2007. That creative’s own unique vision. what’s in store for this new year in next Prediction #1: The term “director” are more important now than ever. shouldn’t come as a surprise, since And, of course, caffeine remains week’s electronic edition (e.dition) of will be replaced with the term “media Great work on TV, print and radio the demographics of households that important. SHOOT. Among the additional arti- architect.” Would you let a YouTube remain essential, but so now is work own HD sets are primary targets for sans offering feedback will be Nathan director design your house or office? that integrates traditional advertis- many advertisers. I made a presenta- Olcun Tan, head of R&D, Gradient Hunt, VP/group creative director at Prediction #2: Hi-Def will become ing with live events, promotions and tion to AICP about this topic five or Effects, Venice, Calif. Deutsch New York; Loni Peristere, the new Standard-Def. The first 11 entertainment whether online or on six years ago. I’m a little surprised that In 2007, re-purposing game physics creative director, Zoic Studios, Los months of 2007 will be spent discuss- film and television. Our clients want it has taken a while for this trend to engines such as Ageia, Bullet or ODE Angeles, Siggy Ferstl, colorist at Riot, ing how to fit 4x3 into 16x9. Graphics to explore this landscape and we are gain traction. One notable exception will be increasingly important for vfx Santa Monica and John Myers, execu- will generally grow larger to fit both looking forward to helping them is trailers for movies. production purposes. tive producer/partner at Ring of Fire in formats and will cover most of the navigate it. Many of them are already being Understanding and modifying West Hollywood, Calif. 18 SHOOT January 12, 2007 EDITING AND POSTPRODUCTION

AAAAnalysis

The American Association of Advertising Agencies’ (AAAA) recently released podcasts and the like. Some clients grudgingly experimented with the idea, its annual Television Production Cost Survey (SHOOT, 12/1/06), which covers while others enthusiastically embraced it. The risk factor [in the advertiser’s Editorial and calendar year 2005 as reported by 21 participating ad agencies and branch of- mind] initially put pressure from all involved to create these pieces with little fices (including most of the country’s top 20 shops). While production usually or no budgets attached to them in effort to sell them to a client. In attempt to generates the loudest scrutiny, this year editorial and post were among the ar- partner with their clients, production companies and editorial houses initially Post Execs eas that showed the greatest changes, when compared with the survey results “took it on the chin” at times to produce this content. Now, many advertisers for ‘04. have found how effective alternative media is and attach such pieces to the list Editing and post costs—which had been on the rise—leveled out in ‘05. The of deliverables of a traditional TV commercial production. Some projects are Respond to average cost to edit and complete an original :30 in ‘05 was $51,000—which is generated as purely alternative media from the onset. two percent less than in ‘04. But the ‘04 average had gone up six percent over ‘03. Video finishing costs were four percent less in ‘05 as compared to ‘04. Survey Results This represented a notable shift as finishing costs went up 25 percent in ‘04 as compared to ‘03. Creative/labor fees on a :30 showed a seven percent Tdecrease while an editor’s markup declined by six percent from ‘04 to ‘05, By Carolyn Giardina coming in at $3,100. Looking at the survey as a whole, it should be noted that the AAAA report shows a total pool of 1,444 national commercials—that’s 135 fewer spots, or nearly nine percent less, than in ‘04 based on returns from 20 agencies. In fact, the tally of national commercials being produced, as reported by the AAAA, has been pretty much steadily declining since ’01. In ‘01, for example, there were 1,741 national TV spots, which went down to 1,725 in ‘02, and 1,521 in ‘03. The general consensus sug- gested that the reason for this trend is that agencies have been shifting more of their TV investments into alternative media. The Association of Independent Commercial Producers (AICP) has long questioned the validity of the survey. This year, SHOOT asked editorial and post professionals for their thoughts on the survey results. Here’s what was said:

Bob Cagliero, executive producer, bicoastal 89 Editorial; presi- dent, AICE NY Chapter The survey seems to be accurate on a Bob Cagliero number of levels from our experience as a bicoastal editorial company that also maintains a design and visual effects division. I think all of us can sense the number of traditional, national television commercials declining over the years throughout the industry. While such decline may have placed some strain upon the production and postproduction communities, the increase in “non- traditional” media has presented work to offset the decline. The challenge here, however, is non-traditional media has created non-traditional budgets. A couple of years ago, agencies had to sell their clients on web films, virals, Continued on page 21 Getty Images 200323785-001 January 12, 2007 SHOOT 19 EDITING AND POSTPRODUCTION

Post Reaction To Autodesk Restructuring

By Carolyn Giardina that they were going to take a wait Discreet’s direction, explaining, “It Last month Montreal-headquartered and see approach. depends on what information they Autodesk Media & Entertainment The shift to Linux was gener- will expose in the near future. It will (formerly Discreet)—the makers of ally praised as a smart and necessary suggest their vision for the future. the popular Flame, Inferno, Fire and move as commodity hardware is be- They’ve got really good products; Smoke editing and compositing sys- coming more powerful and more af- they need to catch up with some tech- tems—restructured its operations to fordable, and as a result many in the nology the market has adopted.” prepare for the next chapter in the post business were shifting from SGI company’s history. Key was that these platforms—which ran the aforemen- Expressing Concern Kirk Balden moves marked the company’s com- tioned Autodesk products. But post- Still, some did go on the record ad- one. That’s the worrisome part.” pleted transition of its systems prod- ings on the Flame user group reflect mitting concern. One was New York- Sharibini adds, “In a way, we need ucts (i.e. Flame and other aforemen- the fact that these Linux-based ver- based Stitch creative director and to reestablish this relationship be- tioned systems) from an SGI-platform sions are still quite young and not Inferno artist Fred Ruckel, a longtime cause the core of the people who de- product line to a commodity (Linux) without bugs. Discreet customer, beta tester and vo- veloped the product are gone.” based systems model. Still, these systems have been lead- cal supporter of the tools. “This year, Some see similarities with Avid’s As part of this restructuring, the ers in the commercial post industry with all the changes, I think they are undisputed leadership status in non- company also initiated the layoffs of for many years and have a loyal user going to fall apart,” he says, hoping linear editing before Apple came in roughly 30 staffers in its systems unit. his comments could help prompt con- and offered what many see as a viable Some of those affected were faces and structive dialogue. “This is a company alternative. names that commercial customers with all these customers to sustain, Some see Apple as a potential knew and frequently worked with, and probably 80 percent are still on threat in compositing as well, as the including Product Specialist Martin SGI, so at this time next year, every- company has already announced that Helie, Head of R&D Pierre Bouchard one will have a defunct machine. it is developing a next generation and Director of Project Management What do you do as a company? compositing system to replace Shake. Bill Roberts. “I’m worried because I don’t know “The question is how seriously Apple Autodesk Media & Entertainment where it is going to go,” he relates. is going to get into this market,” ob- VP Marc Petit explained that these “[Discreet’s current products are] on serves Szumski. moves are a continuation of the Linux, but [there are bugs]. People on “That will be a big factor in ‘07, if company’s direction. “The migration Mark Szumski SGI are stuck and have to upgrade, Apple gets into Discreet’s territory to the PC is having an impact on our base. “There is nothing else out there and we know a software-only version with a strong compositing system.” business model and also on our finan- to replace it,” says Mark Szumski, of Flame is coming. Right now they “Adobe is going to be Autodesk’s cials,” he said. visual effects supervisor/senior vi- run on dual core Linux, but quad core Apple,” Ruckel predicts. “The cre- “We had to make a bunch of sual effects artist at New York-based is on the way. So is it wise to upgrade ative studio that they released last changes in operations in the back end. Click 3X. “You can’t do client sessions now? What if I make an investment year [had strong versions of] After Ef- There is a layer of complexity that has work on After Effects. People like the today? Where is money best spent? fects and Premiere. This with a video disappeared with the PC. That’s one interactivity of Flame. There is still a “And, with new technology you get card is a powerful machine.” of the driving forces. Another is we large gap between desktop and Flame problems,” he continues. “SGI ver- “A lot of companies have their changed our structure eliminating systems.” sions have the least amount of bugs, eye on this market,” Sharibini says. a layer of management.” (See this “They’ve been a big and solid they work. With the firing of the sys- “Flame is the only game in town, but week’s HD Essentials for more details company for a long time. In terms of tems team, one can only ask, ‘What is it is a question of time at this point on Autodesk). interactivity for clients, Flame is sec- going to happen next?’” and a question of what kind of strat- ond to none,” agrees Vico Sharibini, Kirk Balden, Flame and Smoke art- egy Autodesk takes as a company. Wait and see visual effects supervisor and artist at ist at L.A.-based A52, says, “There are The high end and the consumer mar- The restructuring has prompted New York-based RhinoFX. “How- executives...and development people ket will start getting closer and closer quite a lot of discussion in the com- ever the business is changing we’re that will be missed, who have been and the players in the market at the munity of post and visual effects doing different projects from film to with the product almost since the moment [may be] different from the houses that largely rely on Discreet’s games. We are looking into different beginning. Those are the people who players that will be there next year. I system products. products and technologies.” knew the backbone of the software will be interested to see who the other Most interviewed by SHOOT said Sharibini reserved judgment on and we were able to talk to one on players will be.”

High Growth Market Broadband video advertising has grown dramatically in the past year and is becoming a focal point for digital content providers, advertisers, and ad agencies as internet technology reveals its digital video delivery potential to both communicate and market. THE DIGITAL NEWSPAPER FOR BROADBAND VIDEO ADVERTISING Currently, U.S. online video advertising is expected to total $385 million, up 71 percent from a year ago, according to market research  rm eMarketer. That’s more than twice the growth rate of overall U.S. online advertising spending. According to JupiterResearch, online video advertising could hit $1 billion within three years. EEveryvery WednesdayWednesday In response, SHOOTonline.com, a leading online resource for commercial, interactive, and } www.shootonline.com/go/ispot branded content production and the editors of SHOOT magazine now bring you iSPOT, the  rst digital newspaper devoted to covering the latest news and developments in the burgeoning broadband video advertising marketplace.

20 SHOOT January 12, 2007 EDITING AND POSTPRODUCTION

Edit/Postproduction House Executives Off er Feedback On AAAA Survey

Continued from page 19 It’s work we love, but we aren’t recov- cities and markets contributing to a when it comes to instant feedback. The challenge is that this alterna- ering the costs as we did in the past. more competitive environment. Posting spots for approval also helps. tive or non-traditional media is still Toss in the proliferation of agency in- So if the question is, “Has the average content that needs to be produced house post facilities that literally suck Arthur Tremeau, executive cost per spot decreased?”—then, the and postproduced with the tools and away the needed capacity (volume) producer, Northern Lights, answer is a resounding yes. Has it af- talent that its traditional partners re- from the independent editorial com- New York fected the bottom line? No, because quire. However, while beginning to munity, and our industry could be fac- [Analysis of the survey] all depends we get more work done in a shorter grow a bit, the budgets for the alter- ing a big downsizing. We are already on how you look at spot production. period of time. native pieces lag behind considerably seeing houses go out of business at an Maybe the average cost has dropped Editor’s Note: For more on the over- compared to their traditional counter- alarming rate. We care so much about off, but it may actually factor in great- all AAAA study, see SHOOT’s 12/1/06 parts. That could certainly be a key Bob Solomon our client’s creative product and will er efficiency in the process. Agencies issue for a rundown of the annual ingredient in the reduction of produc- Relatively few clients are leverag- never compromise it. It’s just getting are aware of limited budgets and their survey’s findings as well as a sidebar tion and postproduction costs in ’05 ing original production assets by em- tougher to maintain the equipment clients are more accommodating on reaction from the AICP. on top of the general belt tightening ploying them in multiple campaigns, and staff necessary to do that. we all feel. optimized for different distribution Agencies have less ways to make platforms—that is finishing broadcast, Steve McCoy, president, CLASSIFIEDS money than they did five to 10 years broadband, wireless and theatrical FilmCore, Santa Monica, Advertising Information: ago. Clients dictate budgets that are at from the same source material. San Francisco, New York Kelly Boyle (203) 227-1699 ext 14 or email: [email protected] times unrealistic. These are realities Pressure on production budgets is Assuming that the AAAA survey EMPLOYMENT our communities have been dealing a reality particularly on post which is correct in stating that the number with for the past few years at least. seems to often get whatever is left of commercials produced each year DIRECTORS WANTED Established West Coast Production House is seeking to expand their roster. Seeking What I believe this will continue to do over after covering production costs. General Market, Hispanic and Foreign Directors. Director’s with foreign affi liations are is make the producers more creative, This is particularly true with visual ef- welcome. Confi dentiality guaranteed. Please mail DVD reels or email a link to: smarter and cost-effective. Editorial fects contracts where there is still an Send Reels houses are becoming more and more ample supply of visual effects facilities 3435 Ocean Park Blvd. #107 self-sufficient. They have design, willing to do projects at unsustainable PMB 257 graphics, online conform, Flame/FX, margins. Santa Monica, CA 90405 [email protected] and sound design/mixing capabilities It is difficult to compare total costs they did not have in the past. This has for post for the period ‘04 to ‘05 due Experienced Post Producer enabled such houses to be more flex- to the increase in HD finishing, where Busy NY based full service post facility seeks experienced Post Producer. Looking ible and profitable than they could comparable work incurs greater costs. for someone with at least 3-5 years commercial/broadcast experience, knowledge be in dealing with outside vendors as To accurately measure year-over-year of bidding software & AICE practices/guidelines, managing budgets & schedules, working closely with clients and editors. Require someone well-organized and Steve McCoy mark-ups continually decrease. Bud- gross cost, you have to consider the effi cient with strong communication and computer skills. Competitive salary get challenged jobs can be produced finishing requirements of the sample is trending downwards, that decline (commensurate with experience) and benefi ts package. more effectively and be profitable in projects in ‘04 versus ‘05. could be offset by a rise in produc- Please e-mail cover letter and resume to [email protected] or fax 212.966.3553 an environment where mark-up is tion of advertising for other media. jeopardized daily. On another level, it Tom Duff, president, Advertising for the web and other SALES REP has produced a platform for the junior Optimus, Chicago and emerging channels is clearly on the Established Santa Monica based Production Company is seeking highly moti- editor to have more opportunities to Santa Monica; president, AICE rise and while a lot of it is repurposed vated and energetic independent reps for LA, NY and the Midwest. Must have grow as some clients will let them Chicago Chapter broadcast content, it may include experience and contacts. Great opportunity to grow. Reply in confi dence to: “take a shot” at a cut on the jobs with On one hand, we are all happy to more original content in the future. [email protected] little money. see stability of pricing. On the surface, Regarding the survey’s conclusion While the 4As survey results are a two percent decrease can have that that the cost of producing commer- Creative, established NYC post boutique Editor not surprising, I do think they reflect feel good effect, but it also is indica- cials has declined slightly, that result is looking to combine forces with an edi- East Cost post facility looking to add the continued budgetary challenges tive of a potentially scary trend. Tight- is unlikely to hold due to the increase torial shop and/or a production company. to our staff. You must have a great that are a byproduct of an industry ening budgets out of the agencies in HD work. Let’s join forces to better compete with reel and exceptional client skills. You still in the midst of redefining itself. certainly are the biggest factor in the larger, full-service companies. Reply in should have fi ve years Editorial, Design confi dence to: [email protected] and Finishing experience on Spots. reduction of costs. Stephanie Apt, president, Episodic and fi lm experience a plus. Bob Solomon, president, The landscape is more competitive Final Cut, bicoastal/interna- Production house in the southeast Strong Discreet Fire/Smoke experience Ascent Media Creative than ever, so we are being forced to tional required. Avid, After Effects and Final looking for director/dps. Please Cut experience a plus. We are a growing Services, Santa Monica Editing and post costs for TV spots send reels to: The AAAA study is stale given are decreasing because clients are state-of-the-art HD facility with the PO Box 17969 great people and equipment. Send your that the reporting period covers 2005. moving their budgets into new for- reel (D-Beta, Beta or DVD) to: However the objective evidence mats and alternative media. This has Raleigh, NC 27619-9998 Editor shown in the AAAA study regard- become the norm now for many ad- Shooters Post & Transfer ing macro trends confirms my gut vertisers. Just look at the number of LOCATIONS Attn: HR Independence Square West instincts about declines in traditional spots breaking on the Internet or on Shoot Yosemite broadcast production. That feeling is mobile phones. We’ve experienced Suite 1050 South and Madera County Philadelphia, PA 19106 supported both by other independent an increase in multiple-format cam- [email protected] evidence—Film LA reports that the paigns over the past year, many of From The High Sierra www.shootersinc.com number of commercial shoot days which include interactive and viral To The San Joaquin Valley through the third quarter of 2006 was Tom Duff components. Our editors are being www.yosemitefi lm.com [email protected] down 7.5 percent compared with the take hits on our profit margins to stay asked to not only cut content for the POSTPRODUCTION SERVICES same period in 2005—and by anecdotal alive. However, this hasn’t changed traditional TV spot, but also the web evidence. We are seeing the number the demands of our clients; in fact, versions. There are more and more of TV spots that are being produced the demands are greater, they want channels of communication, but for individual campaigns have de- more for less. smaller budgets and creative fees. clined compared with prior industry Basically, we are investing more And there is a proliferation of editorial norms. Conversely we see an increase capital than ever to keep up with the companies in the industry—with many in finishing for non-broadcast alterna- diverse demands of multiple formats, that have been based in one location tive venues, primarily theatrical. data flow and forms of video content. now expanding their reach into other January 12, 2007 SHOOT 21 News

Reactor Films, Santa Monica, has reached an agreement with feature fi lmmaker Stephen Sommers (The Mummy, The Mummy Returns, Van Helsing) to direct spots. Som- mers has already wrapped Reactor-produced ad fare for Offi ce Depot out of The Kaplan Thaler Group, New York. He is also slated to direct a feature fi lm based on Edwin Balmer’s classic When Worlds Collide for Dreamworks and Paramount Pictures....Chris Sallquist has returned to Seattle-headquartered Digital Kitchen as its client experi- ence director. He comes over from MRM, Los Angeles. During his fi rst tour of duty at Digital Kitchen, Sallquist served as an experience planner in the brand theatre/branded en- tertainment arena.....Sound designer/composer Juan Sosa has come aboard Creative Bubble, New York. He is looking to reach out to the Hispanic advertising market and propel music production for the editorial/visual eff ects/design/music/sound/interactive/production company, which maintains New York-based sister shops Burst, Foam and Creative Broadband....Longstanding Dallas-headquartered post house charlieuniformtango has wrapped its fi rst television commer- cial entailing turnkey services from directing to casting, props, line producing and postproduction. The spot for children’s party salon Sweet and Sassy out of Dallas agency Launch was directed by Jeremy Bartel who recently joined charlieuniformtango. The 22-year-old Bartel had previously been working in the Tulsa area as a freelance fi lm director...

Original Film, Beverly Hills, has secured Chicago-based in- dependent rep Maureen Butler to handle the Midwest.... Lisa Rose has been named director of PR and marketing at San Francisco-based animation studio W!LDBRAIN.... DP Alex Barber is now being repped worldwide (exclud- ing the U.K.) by Dattner Dispoto and Associates, Los An- geles. Barber’s credits include the Academy Award-nominated short film Cashback and music videos for Madonna, Beck, GoldFrapp and George Michaels, among several other artists....DPs Roberto Schae- fer and Eric Trageser are now available through Innovative Artists, Santa Monica, for commercials, music videos and feature films after completing principal photography on respective theatrical motion pictures. Schaefer recently wrapped The Kite Runner with director Marc Forster while Trageser finished Already Dead for director Joe Otting....

>January 17-18/New York: ANA Advertising Law & Business Aff airs Conference. www.ana.net >January 18-28/Park City, Utah: Sundance Film Festival. www.sundance.org >January 21-23/Miami Beach, FL: Marketing to U.S. Hispanics & Latin America. www.srinstitute.com >January 26-27/New York: Catch The Big Idea-Strategies Of Top Creatives Workshop. www.ideamanagement.com >January 31-Feb. 2/Palm Springs, CA: HPA Technology Retreat. www.hpaonline.com >February 3/Los Angeles, CA: 59th Annual DGA Awards Dinner. www.dga.org

22 SHOOT January 12, 2007 Super Bowl spot, anyone?

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

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