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By aiwpadmin / December 16, 2008
Credits Agency: TracyLocke Creative Director: Sanford Stein Associate Creative Director(s): Tara White, Frank Izzo Director of Broadcast Production: Monica Victor Senior Broadcast Producer: Jean Kelly Associate Broadcast Producer: Kiri Carch Group Account Director: Stephen Miller Account Supervisor: James Ryan Assistant Account Executive: Sandy Ramos
Design/Production/Post: SUSPECT Director: SUSPECT Creative Director(s): Hoon Chong, Tim Crean VFX Supervisor: Keith McCabe Executive Producer: Robert Appelblatt Producer: Stefanie Bassett 3D/2D Animator/Compositor: Jean Marco Ruesta Lead 3D Animator: Steve Burger 3D Character Animator: Carlos Sandoval 3D Animator: Andrew Cohen 3D Lighting: David Bernkopf Animator: Frank Lee Talent: Candice Jean-Jacques, Isaac Teel
Audio House: Audio Engine Enginee: Tom Goldblatt Enginee Assistant: David Wolfe
Credits Ad Agency: BBDO City/State: New York, NY Chief Creative Officers: David Lubars, Bill Bruce Executive Creative Director: Susan Credle SVP Creative Directors: Darren Wright, David Skinner Associate Creative Director/Copywriter: Patrick Herold Associate Creative Director/Art Director: Tim Zastera Wettstein Agency Senior Producer: James Alvich Agency Head of Production: Regina Ebel Music Producer: Jean Scofield
Production Company: Stardust Studios City/State: New York, NY Director: Alan Bibby
Motion Capture Company: Perspective Studios City/State: Glen Cove, NY
Music Company: DeeTown Entertainment City/State: New York, NY Music Track: “You’re Supposed To Be My Friend” by 1990s, remixed by DeeTown
Final Mix Company: Sound Lounge City/State: New York, NY
Credits Agency: WCRS Creatives: Olly Beale and Alex Holder Agency Producer: Lesley Williams
Production Co.: Home Corp Director: Sara Dunlop Producer: Stuart Bentham
Editorial Company: Work Editor: Bill Smedley
Post Production Co: Finish Finish Producer: Fi Kilroe VFX: Jason Watts & Steve Murgatroyd Flame: Byron Wooffindin 3D animation: Mark Gregory, Harin Hirani, Paul Wright & Joel Bodin
Telecine: The Mill Colorist: Paul Harrison
Credits Agency: McCann Worldgroup San Francisco Executive Creative Director(s): Rob Bagot, John McNeil Associate Creative Director(s): John Reid, Doug Green, Michael Furlong Copywriter: Doug Green Art Director(s): John Reid, Michael Furlong Digital Creative Director: John Reid Broadcast Producer: Ben Latimer Interactive Producer(s): Jose Rivera, Monica Velasquez Director of Print Production: Jeffrey Leach
Prod Company: Kommitted Films Director: Nathan McGuinness EP: Marc Siegel Producer: Jodi Fisher
Post/Effects: Asylum Executive Producer: Michael Pardee Producer: Cassandra Khavari Compositing Supervisor: Tim Davies Bidding Producer: Michael Hanley Production Coordinator: Emily Hoovler CG Supervisor: Piotr Karwas On-Set Supervisor: Sean Deaveraux Inferno: Tim Davies Modeler(s): Chad Fehmie, Greg Stuhl Animator(s): Craig Van Dyke, Mike Warner & Steward Burris
Editorial: Cosmo Street Editor: Katz Assistant Editor: Sean Lagrange Executive Producer: Jerry Sukys
Telecine: Company 3 Colorist: Stefan Sonnenfeld
Credits Agency: Interone Beijing Executive Creative Director: Georg Warga Producer: Rolf Tomaschko Production Company: Telemaz/HSI Director: Joseph Kahn EP Telemaz: Jà¼rgen Bertrams EP HSI: Michael McQuhae Producer HSI: Richard Weager Producer Telemaz: Andrea Schrul
DP: Chris Probst Editor: David Blackburn
Visual Effects Company: Eight VFX
VFX Supervisor: Jean-Marc Demmer VFX EP: Baptiste Andrieux VFX AD: Yann Mallard VFX Producer: Marsi Frey Motion Designer: Nathan Boldman, Amalia Luyet McMahan CG Lead: Fred Hopp Senior Compositor: Stefan Gaillot Compositor: Nicolas Cadorette Vigneau, Joe Chiao CG Artists: Mark Wurts, Julien Forest, Yvain Gnabro, Chien-I Kao, Mathias Jourdes, Shuichi Nakahara Technical Direction: Yannick Leblanc Tracking: Jason Wesche Roto Artist: Marianne Magne
Credits Agency: Wieden + Kennedy CD(s): Jeff Williams, Alberto Ponte, Tyler Whisnand Copywriter: Jason Bagley AD: Ryan O’Rourke Sr. Producer: Matt Hunnicutt Associate Producer: Juliana Montgomery
Prod Company: Anonymous Content Director: David Fincher EP: Jeff Baron
EP/Head of Commercials: Dave Morrison
Head of Production: Sue Ellen Clair
Producer: Robin Muxton
Production Supervisor: Patrick Malloy
Editorial: Rock Paper Scissors
Editor: Angus Wall
EP: CL Weaver
Producer: Mike Goble
Post/Effects: Asylum VFX Supervisor: Sean Faden EP: Michael Pardee Producer: Mark Kurtz Production Coordinator: Emily Hoovler Composing Supervisor: James Allen
Sound Design: Mit Out Sound Sound Designer: Ren Klyce EP: Misa Kageyama
Audio Post: Lime Mixer: Loren Silber Producer: Jessica Locke
Credits Agency: JWT Creative(s): Naz Nazli/Rob Hughes Agency Producer: Katie Keith/Annabel Bennet
Production Company: Outsider Director: Jorn Threlfall Producer: Benji Howell/Jeremy Bannister DOP: Ekkehart Pollack
Editorial: Peepshow Editor: Amanda Perry Post/VFX: Motion Picture Company
Director Tim Damon recently spent time in Dubai and Oman, UAE, shooting a Land Rover print campaign via agency Cogent/UK. Damon brought his HD video camera along for the ride. The shoot and the experience inspired a collaboration between Damon and editor Joel Marcus of Cutters… the result is a spec spot bringing Damon’s footage together…
Credits Brand: Land Rover Spot Title: “One Life”
Agency (Print Campaign): Cogent, UK Art Director: Gemini Mistry
Director/DP: Tim Damon (Damon Live Action, Inc.)
Production Company: Bare Face, Dubai, UAE Prod Company Producer: David Kominek
Format: Rapid Fire Stills, Digital Stills and Live Action
Editorial: Cutters Editor: Joel Marcus
Locations: Dubai and Oman, UAE
Credits Ad Agency – Campbell-Ewald Creative Directors – Michael Stelmaszek and Robin Todd Art Director – Bob Guisgand Copywriter – Duffy Patten Producer – Joe Knisely
Production Company – TWC Director – Eric Saarinen Managing Director – Mark Thomas Executive Producer – Steve Ross Producer – Craig Repass Production Designer – Sean Hargreaves
Editorial – Beast Editor – Igor Kovalik Assistant Editor – Amanda Elliott Executive Producer – Valerie Petrusson Producer – Ashley Hydrick
VFX – Ntropic Creative Directors – Nathan Robinson and Andrew Sinagra Executive Producer – Dana Townsend Producers – Kara Holmstrom and Esther Gonzalez Lead Inferno Artist – Nathan Walker Inferno Artists – Dominik Bauch, Maya Korenwasser-Bello, Matt Tremaglio, Jesse Boots CG Supervisor – Peter Hamilton CG Artists – Deb Santosa, James McCarthy, Dustin Zachary, Javier Bello, Thomas Briggs, Robert Hubbard Compositors – Marie Denoga, Ed Anderson
Telecine – Company 3 Colorist – Mike Pethel
Music – Amber Music Composer – Soviet Science Executive Producer – Michelle Curran Producer – Patrick Oliver
Credits Advertising Agency: Draftfcb City/State: San Francisco, CA SVP Creative Director: Matt Reinhard VP Associate Creative Director: Colin McRae VP Associate Creative Director: Tony Vazques SVP Account Director: Vicki Wagner Senior Broadcast Producer: Dan Watson Account Supervisor: Isaac Clemens Senior Account Executive: Alexis Lovett Business Affairs Manager: Linda Casson
Production Company: Shilo City/State: Bicoastal, USA Director: Shilo Creative Director: Jose Gomez Lead Design: Curtis Doss, Jose Gomez Editor: Curtis Doss 2D Animators: Curtis Doss, Nate Davies, Eugene Gauran Ed Laag, Jon Lorenz 3D Designers: Tamir Sapir, Cody Smith, Blake Guest, Nate Davies 3D Modelers: Trentity DeWitt, Nate Davies, Cody Smith, Blake Guest, George Longo 3D Animators: Blake Guest, Trentity DeWitt, Nate Davies, George Longo Character Animators: Kiel Figgins, Blake Guest, Jorma Auburn, Bren Wilson Executive Producer: Santino Sladavic Producer: Jake Hibler
Music Company: Wojahn Brothers Composers: Scott Wojahn & Roger Wojahn Producer: Dara Norris
Credits Agency: Barrie D’Rozario Murphy
 ECD(s): Bob Barrie, Stuart D’Rozario
 Art Director: James Zucco
Copywriter: Phil Calvit
 Producer(s): Holly Stone, Jack Steinmann


Prod Company: DUCK
 Director: Ree Treweek & Jannes Hendrikz of SHY THE SUN
 Producer: Nina Pfeiffer
 EP: Mark Medernach
 Compositor: Jannes Hendrikz
 Illustrator: Ree Treweek
 Illustration Assistant: Carmen Ziervogel
 3D Animator(s): Claudio Pavan, Arri Reschke (Lung)
 Storyboarding: Graeme Cowie


Music Arrangement: Trivers & Myers
Sound
Design/Mix: Ken Chastain, Pixel Farm
Credits Ad Agency: Wieden+Kennedy Tokyo Art Director: Chris Hutchinson Copywriter: Driscoll Reid Agency Producer: Jen Dennis
Production Company: Elastic Director: Andrew Hall Executive Producer: Alex Gorodetzki
VFX/CGI/Finishing Company: a52 VFX Supervisor: Andrew Hall 2D VFX Artist: Simon Scott 3D VFX Lead Artist: Max Ulichney 3D VFX Artist: Franz Vidal, Eli Guerron, Adam Newman Executive Producer: Ron Cosentino Producer: Jenny Bright
Sound Design: Stimmung Sound Designer: Gus Koven
Credits Agency: Arnold Worldwide Account Supervisor: Kat Karpati Assistant Account Executive: Stephen Masterson VP Creative Director: John Kearse Assoc. Creative Director: Mary Rich Copywriter: Pete Harvey Sr. Art Director: Kristen Landgrebe Agency Producer: William Near Associate Broadcast Producer: Meredith Kelly
Production Company: Prettybird Director: Paul Hunter Executive Producer: Kerstin Emhoff Producer: William Green
Editorial Company: Cosmos Street Editor: Lawrence Young Producer: Amy Febinger
VFX Company: Brickyard VFX VFX Lead Artist: Geoff McAuliffe VFX Executive Producer/Producer: Kirsten Andersen
Audio Mix/Engineering: Soundtrack Boston
Credits Agency: Mullen (Wenham, MA) Chief Creative Officer: Edward Boches Executive Creative Director: Mark Wenneker Group Creative Director/CW: Stephen Mietelski Group Creative Director/AD: Michael Ancevic Director of Broadcast Production: Liza Near Agency Broadcast Producer: Erika Whitters Agency Account Service: Drayton Martin; Julie Carney; Kelly Dickens
Production Company: HKM (Los Angeles) Director: Jacobs Briere Director of Photography: Stefan Czapsky Executive Producer: Ned Brown Producer: Line Postmyr Location: Los Angeles
Stock Footage: BBC/Footage Bank/National Geographic/Thought Equity/Getty
Editorial Company: Final Cut (NYC/LA) Editor: Stephen Berger Assistant Editor: Georgia Dodson Executive Producer: Kiayan Reuter (NY Producer: Melati Pohan)
Postproduction Company: CO3 (Los Angeles) Colorist: Stefan Sonnenfeld Online Editor: Brickyard (Dave Waller)
Visual Effects: D-Train (Los Angeles) Compositor: Dan Connelly Artist: Ben Gibbs Producer: Shannon Preece
Audio Post: Nylon (NYC/Australia) Mixer: Dave Robertson Assistant Producer: Karena Cameron
Music Production: Nylon
Sound Design: Nylon
Credits Agency: Goodby, Silverstein & Partners GCD(s): Keith Anderson, Steve Simpson CD/Co-Chairman: Rich Silverstein Creative Director(s): Rick Condos, Hunter Hindeman Art Director: Andre Massis Copywriter: Jordan Kramer Executive Agency Producer: Cindy Fluitt Agency Producer: Todd Porter
Production Company: Psyop, Los Angeles Director(s): Todd Mueller, Kylie Matulick, Psyop Director of Photography: Crille Forsberg Lead Flame Artist(s): Jamie Scott, Aska Otake Executive Producer(s): Angela Bowen, Neysa Horsburgh Producer(s): Sara Mills, Blythe Dalton, Luisa Murray
Editor(s): Cass Vanini, Brett Goldberg, Brett Nicholetti
Music: Sejong Soloists Sound Design: 740 Sound Design
Audio Post: Sound Lounge Mixer: Philip Loeb
Credits Title: Galp Product: ‘Autocarro’ (Bus) Agency: BBDO Portugal Agency Producer: Alexandra Francisco
Production Company: Ministà©rio Dos Filmes Director: Josà© Pedro Sousa Producer: Alberto M. Rodrigues
Post Facility: Rushes Rushes Producer: Angela Lucantoni Telecine: Simone Grattarola Flame Artists: Richie White, Omar Akkari, Adam Watson, Richie White
Galp ‘Autocarro’ ‘ Rushes Post Epic Journey For Portuguese Energy Provider Press Release
Rushes completed post on this 90 second film for Portuguese energy provider Galp which features the Portuguese National football team as they travel across the landscape of Europe on their way to the finals of Euro 2008.
Rushes’ VFX Artists Richie White, Omar Akkari and Adam Watson describe working on the project …
Rushes has a good working relationship with Ministà©rio Dos Filmes from working with them on a very successful commercial for Portuguese Bank ‘BANIF’ in which we composited a centaur in December of last year. Ministà©rio Dos Filmes have always been a fantastic client to work for as they have a great understanding of what is needed on set to give the best results in post.
In the Galp ‘Autocarro’ commercial, Rushes worked on several crowd replication shots, some with scenic enhancements and general clean up. Before shooting began we discussed the specifics of how to film the different passes & plates of shots that would need work in post. Ministerio Dos Filmes came back with some fantastic footage with which to create the 90 and 30 second spots.
In one particular shot, hundreds of people appear to push a bus through a dramatic mountainous landscape. The bus is in the distance on a winding road as the continuous line of people snake through the landscape. We see the crowd all the way from the distance to very close to frame, giving the viewer a chance to see reaction and body language within the crowd. This shot was made up of 6 crowd plates and 4 background plates that built-up the landscape. In some of these plates we used green-screen to give us detailed mattes and help us to build a seamless composite. In other shots we changed lighting and skies to help the edit run more fluidly.
Rushes’ Colourist Simone Grattarola comments, “Although there was a language barrier, Ze Pedro and myself found common ground with music. We had the sounds of Elbow, Maps, the Cold War Kids, Johnny Cash and Bob Dylan (who made it onto the soundtrack!) fuelling our session!”
The journey takes the Portuguese team to the Euro 2008 finals in Austria via Spain and France with the team bus being pushed by an ever increasing group of fans. Each country carried a slightly different feel. Simone used the Spirit and the Da Vinci 2K to help achieve a beautifully stylised vista of Europe.
Simone adds, “The original cut was a 60″ and when Ze Pedro took it back to the clients they decided they wanted to extend the film to a 90”!
Credits Discovery Network VP Brand Creative: Dan Bragg Producer: Tyler Korba
Editorial/Post: Ultrabland
Editors: Andrew Malenda
Designer: Doug Filiak
Mix: Ted Marcus
Executive Producer: Heidi Bayer
Edit Assistant: Melissa Figueroa
Music: Rolling Stones, Gimme Shelter
CREDITS Client: PETA Spot Title(s): Beat Down, Pusher, Bathtub
Agency: The Cricket Club Copywriter: David Ekholm Art Director: Roald van Wyk Agency Producer: Terry Brogan
Production Company: Boy Genius/Japanese Monster Director: Scott Corbett Director of Photography: Jeff Venditti Producer: Joe Pistorio
Editorial Company: Cake Editor: Bob Mori
Telecine: Company 3 Colorist: Sean Coleman
Post Production: Post + Beam Make-up Effects: Lee Romaire Studios VFX: Craig Price
Sound Design: Brian Emrich, Larry Wineland
Music: Skeleton Suit
Audio Post: Ravenswork Engineer: Scott Burns
Credits Agency: 180LA, Los Angeles Managing Partners: Peter Cline, Michael Allen Executive CD: William Gelner CD(s): Tyler Hampton, Gavin Milner Art Director: Lindsey Aquino Copywriter: Jordan Chouteau Senior Producer: Colleen Wellman
Prod Company: Anonymous Content Director: Andrew Douglas EP: Andy Traines EP/Head of Commercials: Dave Morrison Head of Production: Sue Ellen Clair Production Supervisor: Jennifer Barrons Producer: Paul Ure
Editorial: Rock Paper Scissors Editor: Adam Pertofsky EP: Vicki Tripp
Post/Effects: The Mill CG Supervisor: Jaime O.Hara Producer: Gabrielle Gourrier
Credits Agency: BBDO Atlanta Creative Director: Stephen McMennamy Producer: Melanie Lambertson
Production Company: Tool Of North America Director: Tom Routson Producer: Caroline Pham VFX producer: Lesley Robson-Foster
Editorial: PS260, New York Editor: Dustin Stephens Producer: Mitch Stockwell
Design: Lift Motion Graphics, Chicago Creative Director: Jason White 2D artists:> Sam Gierasimczuk and Kyle Shoup
Post/Finish: Filmworkers Club, Chicago VFX director: Rob Churchill Executive Producer: Mary O’Gara Inferno artist: Rick Thompson Flame artist: Jen Gajos CGI artists: Charlie Peterson and Matt Daly Editorial Assistant: Matt Green
Music: Tonefarmer, New York Executive Producer: Christina Tortorelli
Credits
Agency: Grey, NY SVP/CD(s): Ari Halper, Stephen Krauss Art Director: Doug Fallion EVP/Dir of Content Dev: Nick Childs VP/EP: James McPherson AP: Madhuri Sharma
Prod Company: Anonymous Content Director: Andrew Douglas DP: Flor Collins EP: Andy Traines EP/Head of Commercials: Dave Morrison Head of Production: Sue Ellen Clair Producer: Aris McGarry Production Supervisor: Maggie Lopez
Post/Effects: Asylum Visual Effects Supervisor: Paul O’ Shea On Set Visual Effects Supervisor: Marc Varisco Executive Producer: Michael Pardee Producer: Mark Kurtz Bidding Producer: Mike Hanley Associate Producer: Ryan Meredith Inferno Artist: Miles Essmiller 3D Tracking: Eddie Offerman Matte Painting: Tim Clark Texturing: Alexi Steinhauer Rotoscoping: Junko Schugardt, Chris Cortese, Merlin Carroll
Editorial: Mad River Editor: Michael Elliot EP: Laura Relovsky
Music: Sacred Noise Composer: Michael Montes Music Producer: Jared Schlemovitz
90-Second P.S.A. from MTV, Ogilvy & Mather Amsterdam, Shilo and The Burma Arts Board Debuts Worldwide to Drive Aid and Awareness for Burma Crisis Press Release
NEW YORK and DEL MAR, CA. – (May 15, 2008) – The filmmakers from creative production company Shilo (www.shilo.tv) recently collaborated with an extraordinary group of individuals and organizations to create a powerful animated :90 public service announcement (PSA). The piece, entitled “Burma Viral,” uses footage of warplanes bombing Burma with flowers as a dramatic call-to-action, inviting viewers to visit a new Burma Arts Board website, noneofusarefree.org, where they can send messages of support to the people of Burma in honor of their continuing struggles against the notorious practices of their oppressive military government, learn more about the devastating effects caused by the recent cyclone, and find ways to contribute to relief efforts.
Uniting the talents of Shilo with those of Carl Le Blond, Executive Creative Director at Ogilvy & Mather Amsterdam, John Jackson, Director of Social Responsibility, MTV Networks, Suki Dusanj, Founder of The Burma Arts Board, activist Sam Roddick and others, the provocative film debuted today on participating MTV networks worldwide, via countless video-sharing websites around the globe, and in New York’s Times Square, where it will be screened throughout the day on MTV’s 25-by-40 foot HD Jumbotron near 44th Street.
“As Cyclone Nargis tore across Burma, the world witnessed one of the worst natural disasters in history,” said Suki Dusanj. “Since then, the world has watched the military Junta block aid from reaching those who need it so desperately. It is our hope that this Burma Viral will circulate around the world and into Burma, and bring about the changes necessary to make the aid and rescue efforts effective ˆ and to allow the Burmese people the freedom to enjoy the civil liberties they deserve.”
“This spot somehow talks directly to the emotions we feel about the current humanitarian crisis in Burma,” said John Jackson. “We know that people desperately need help and we also know it is not reaching them. The narrative conjures up a task force that brings a powerful message of support to the people of Burma, and an urgent appeal to donate to the international relief effort.”
Continuing, Jackson explained, “As the hours and days pass, the need grows greater and so too will the aid that is required. A humanitarian disaster is slowly turning into a catastrophe. If at times like this we can use the particular skills we have to help, then the creative power of Shilo and Ogilvy have been brought together at full force to get funds to those that need it. MTV are proud to be part of this collaboration.”
“Since long before this disaster occurred, the people of Burma have been oppressed: They have not been free to express themselves,” began Shilo co-founder, creative director and director Andrà© Stringer. “Speaking on behalf of a group of individuals who make art everyday for our livelihoods, we place a tremendous value on personal expression. So when Carl contacted us, shared his script and asked if we wanted to direct it, we jumped at the chance. We immediately realized that this project could help to make a difference for a nation of more than 55 million people being denied the rights we take for granted ˆ and that it would be the most important piece of work we’ve ever created.
“After the cyclone hit,” Stringer went on, “we realized we could make some slight changes to the film and the campaign site, and possibly have an even greater positive impact on the people of Burma at a time when their needs are even more desperate.”
The project began as a dialogue between Le Blond and Jackson. Last year, Le Blond wrote a script, and since then, had been searching for the right production partner. “I had this script which, though I thought worked, would have been prohibitively expensive to execute, just because of the scale implications involved,” said Le Blond. “Then as I started thinking of other ways to try to make it, I spotted a film by Shilo which just took my fancy. When I spoke with Shilo, there was an immediate understanding of what we were trying to do.”
According to Tracy Chandler, Executive Producer for Shilo, things clicked quickly from there. “There was no pretense, there was no negotiation,” she said. “Everybody was in and everybody was excited, and we all knew that the film had to touch people so that they’d want to share it with others and get involved in the cause.”
Since the film’s imagery would have been impractical to obtain via live-action cinematography, Shilo chose a very multi-media approach. The visual content was created by Shilo’s artists using Autodesk Maya for 3D, QUBE for managing renders, Mental Ray for rendering, Adobe Photoshop for texturing, Adobe After Effects for compositing, and Final Cut Pro for editing. Reflecting a great amount of audio research, concepting and exploration by Shilo’s team, the PSA’s soundtrack was ultimately performed and mastered by the artists at Amsterdam-based Good Sounds.
“The crux of the film’s story is based in juxtaposition and surprise: An ominous set-up gives way to hope. The flowers are the perfect icon for that,” Stringer said. “My favorite shot involves a really close-up shot of a flower fluttering in front of the camera, where the camera has a lot of shake on it. Seeing that scene made me realize that the flowers had already become characters for us, like they were paratroopers falling on D-Day. Some look really lyrical, beautiful and fluid, and some of them dive with intensity. To me, it’s really cool to be able to take something like a flower and let it become a paratrooper ˆ or a performer that can poetically deliver a powerful message, as these do.”
Jose Gomez, who along with Stringer is co-founder, creative director and director for Shilo, shared his own perspective on this project. “An important goal for each of us, in every project we take on, is getting people to think,” he said. “This project is the ultimate example of that. As directors, we generally regard ourselves as provocateurs, but in this case, we’re actually activists, hoping that those who see this film will help us to make positive differences for the people of Burma.”
“From the very beginning, everyone I met at Shilo was just automatically going above and beyond∑ and that to me is what filmmaking is all about,” added Le Blond. “It’s about complete collaboration, to actually make something better than just a script. As the details of the cyclone came to light, that same spirit allowed us to take the film a step further, to a point where it can potentially heighten relief efforts, while also raising awareness for
the societal difficulties these people face every day, even under normal circumstances.”
For Ogilvy & Mather Amsterdam, Brenda Bentz van den Berg served as the project’s agency producer. Shilo’s project team also included executive producer (UK) Mark Hanrahan, Stringer’s fellow lead artists Tamir Sapir and David Hill, matte painting artists Mathieu Reynault and Rodeo FX, Marco Giampaolo, Cassidy Gearhart and Noah Conopask, 3D animators Henning Koczy, Richard Cayton, Ohad Bracha, Bren Wilson, Eugen Sasu and Kiel Figgens, 3D artists Christina Ku, Richard Kim, Warren Heimall, Craig Kohlemeyer and Scott Denton, compositors David Hill, Tamir Sapir, Cassidy Gearhart, Noah Conopask and Stieg Retlin, miniature designer Willi Patton, editor Nathan Caswell, sound designer Dante Nou, producer Lindsay Bodanza, and coordinator Danielle Smith.
Credits Agency: BBH London Creative Director: Nick Kidney Account Director: David Webster CW: Toby Allen Art Director: James Hilson Producer: Olly Chapman Assistant Producer: Matthew Towell
Production Company: Prettybird Director: Paul Hunter EP: Kerstin Emhoff DP: Alex Barber
Editorial Company: Cut + Run Editor: Andy McGraw
Post: The Mill VFX Supervisor: Yourick Van Inpe Colorist: Mick Vincent
Sound Design: Nick Rapaccioli and Neil Barnes (best known as Leftfield)
Audio Mix: Wave
CREDITS Ad Agency: Campbell-Ewald Creative Directors: Robin Todd and Michael Stelmaszek Copywriter: Dan Birney Art Director: Lew Baker Producers: Mary Ellen Krawczyk and Linda Kemp
Production Company: Anonymous Content Director: Joseph Kosinski DP: Claudio Miranda Executive Producer: Jeff Baron Producer: Aris McGarry Where Shot: Universal Studio/Los Angeles, CA
Editorial Company: Spotwelders Editor: Robert Duffy
VFX Company: Digital Domain VFX Supervisor: Vernon Wilbert Digital FX Supervisor: Dave Stern CG Supervisors: Doug Wilkinson and Aaron Powell Digital Artists: Carlos Anguiano, Erin Clark, Nick Damico, John Lima, Justin Lloyd, John Niehuss, Anthony Ramirez, Jason Stellwag, Greg Tsadilas, Sven Dreesbach, Tim Nassauer Tracking: Scott Edelstein and Montu Jariwala Roto Artists: Hilery Johnson Copeland, Rob Liscombe, Karin Last Nuke Compositors: Todd Sarsfeld, Jacqueline Cooper, Krista Benson Flame Artists: Jonny Hicks, Christopher DeCristo, Kevin Ellis, Mark Devlin Render Coordinators: Navit Singh Gill and Matthew Bramante Previs: David Rosenbaum, Simon Dunsdon, and Carlos Pedroza
Music: “Lazy Eye” by Silversun Pickups Remix/Music Supervisor: Jason Bentley Arrangement: Jeff Elmassian @ Endless Noise Executive Producer: Dayna Turcotte @ Endless Noise Producer: Mary Catherine Finney @ Endless Noise
Unexpected Uses Krakatoa on VFX-Intensive Ad Campaign for Snickers via BBDO Moscow Press Release Frantic Films Software, the software
development arm of VFX studio Frantic Films (a division of Prime Focus Group), announced that its high-volume point-based particle renderer Krakatoa was used by German post facility Unexpected on a recent commercial campaign for Snickers Russia. The two-spot effort via ad agency BBDO Moscow and Spy Films, Toronto, combines feature film-quality VFX with live-action to tell a story of biomechanical creatures that use Snickers as their energy supply. The first spot “RUGBY,” is currently airing throughout Russia, while a second spot, “TAG,” breaks in fall 2008.
Founded in 1999 and currently boasting a 35-member team of directors, VFX artists and animators, Stuttgart, Germany-based post-production studio Unexpected is behind some of the most VFX-intensive commercial, TV and film projects in Europe. Unexpected’s VFX team is led by Managing Director and Co-Founder Alexander Kiesl and Head of Visual Effects Steffen Hacker. Krakatoa was added to the company’s Autodesk 3ds Max production pipeline in October 2007.
Krakatoa is Frantic Film Software’s production-proven volumetric point renderer ideal for creating believable and finely detailed natural phenomena, like dust, smoke, silt, ocean surface foam, plasma and even solid objects. The latest Snickers campaign was the studio’s first project using Krakatoa, which was employed to help boost several key CG shots.
Said Steffen Hacker, Head of Visual Effects, Unexpected, “Our studio’s primary tools are Autodesk 3ds Max, Pixologic Zbrush, Adobe Photoshop CS3 and Adobe After Effects CS3 running primarily on Dell Dimensions with Windows XP x64 running on 64bit CPUs. Krakatoa integrated effortlessly with our pipeline and renderfarm, and it proved to be a powerful addition to our VFX arsenal on this recent job.”
In addition to heading up Unexpected’s VFX department, Kiesl and Hacker are also award-winning commercial directors. Working under the moniker Alex & Steffen, the duo has been helming commercials for the likes of Microsoft Xbox, World Wildlife Fund, and the Finnish Ministry of Transport since 2005. Alex & Steffen are repped by Spy Films in Toronto, but bring all projects into Unexpected for visual effects and post.
This is the second Snicker campaign from Unexpected and Alex & Steffen. Their first was in 2006, with the spots “ROBOTS” and “RACE.” That campaign was such a success, BBDO Moscow approached the company again to raise the bar even higher for the 2007-2008 effort.
In the Snickers “RUGBY” spot, hybrid robot-human creatures play rugby on an abandoned military plane boneyard. In the ad’s climax, one of the creatures loses all its energy and disassembles into a huge cloud of dust and debris. “We didn’t want to go for a seen-before morph and didn’t want to use the mechanical explosion disassemble we used to animate the first two Snickers spots, so a more natural, organic transformation was needed,” explains Hacker. “We experimented a lot with other plug-ins for 3ds Max, but none of them achieved the look we were going for. Then we discovered Frantic Films Software’s Krakatoa.”
The transformation and re-transformation shots in “RUGBY” were to include a huge amount of particles. Unexpected had originally planned to do all the particle animation using 3ds Max’s particle system Particle Flow. However, the team discovered that its renderer-of-choice couldn’t churn out the number of particles it wanted to integrate into the transformation shots. So after researching all the particle simulators available, Alex & Steffen decided to give Krakatoa a shot.
“The first test scenes that particle artist Emil Stefanov set up while we were shooting contained several hundred thousand particles and were extremely quick, and then our more sophisticated test scenes containing millions of particles outputted pretty efficiently as well,” said Hacker. “It was then that Alex and I looked at each other and thought, ‘hey, maybe this Krakatoa is actually going to do the job!’ We found Krakatoa’s saving-out feature of particles to PRT sequences a particularly brilliant tool. This allowed a calculation to be recycled for different passes such as for the diffuse layer, RGB layer for different PFlow events and, of course, for changing values afterward, like size of particles. Even though Krakatoa doesn’t support Particle Age, color info could still be saved out within the PRTs to use as a mask for the compositing artist.”
Krakatoa was mainly used for all transformation and re-transformation shots of the main characters. In addition, the tool was employed to create discreet and detailed particle animation, such as falling rust and dispersed dust from the moving characters. Krakatoa also gave the Snickers product shot added appeal by integrating several million particles to accentuate the Snickers bar’s movement.
Krakatoa features that Unexpected particularly liked included how the toolset handled matte objects as selection sets, and the intuitive and clearly arranged renderer user interface. Frantic Films Software substituted the small checkboxes with checkbuttons that were hard-to-miss, and right-click options made the settings overview and troubleshooting easier. And because the UI is a MaxScript, it can be adjusted individually to suit the artist, who can add more functions or change the color of the background buttons to different shades at will. Even the learning curve was not as steep as anticipated-Unexpected’s 3ds Max TD Jà¶rg Hà¤berle learned Krakatoa during the project in a very short period of time, and was fully working with its project files a few days later.
“Krakatoa performed under our very demanding commercial production schedule, and we’ve seen only a fraction of what the software can do. Without a doubt, we’ll be using Krakatoa on future projects. I highly recommend this tool to anyone with a general knowledge of particle setups and a lot of creativity, because you can really help make magic with this useful tool,” said Hacker.
CREDITS Agency: DDB Milan
Production Company: Parco Films Director: Andrew Hardaway
Editorial: Boxer Films, LA Editor: Pedram Torbati Producer: Ben Guzman
Telecine: The Syndicate Artist: Beau Leon
VFX House: The Embassy VFX Producer: Charlie Bradbury
MSX: Human
CREDITS Client: Alliance for Climate Protection Spots Title: “We Can’t Wait” Anthem
Agency: The Martin Agency CD: Sean Riley Art Director: Ty Harper Copywriter: Raymond McKinney Broadcast Producer: Brian Camp AP: Katie Chirgotis
Prod Co: Stock Footage – Getty
Editorial/Post: Thoughtstream Media, VA Editor: Scott Malkie
VFX: Superfad, NY
Music/Composer: Black Iris Music, VA
Audio Post/Sound Design: Rainmaker Studios, VA Engineer: Jeff McManus Mixer/Sound Designer: Mike O’Connor
Voiceover Talent: William H. Macy
CREDITS Agency: Arnold Advertising/NY
Director: Genndy Tartakovsky
Production Company: The Orphanage
VFX Supervisor: Corey Rosen VP/Executive Producer: Paul Grimshaw VFX Producer: Lawson Owen CG Supervisor: Nathan Fariss
Editorial: Rough House
CREDITS Agency: Cliff Freeman & Partners CCD: Cliff Freeman ECD(s): Arthur Biijur, Tom Christmann CD: Lee Seidenberg AD: Kristen Koop Copywriter: Jeff St. Jean Head of Production: Carin Zakes Producer: Josh Morse
Prod Company: Anonymous Content Director: Daniel Benmayor EP: Cassie Hulen EP/Head Of Commercials: Dave Morrison Head of Production: Sue Ellen Clair Producer: Richard Bermani
Post/VFX: Asylum Visual Effects Supervisor: Paul O’Shea Executive Producer: Michael Pardee Bidding Producer: Michael Hanley Producer: Darcie Muangman On-Set VFX Producer: Jeff Werner Production Coordinator: Diana Cheng Inferno Artist(s)/Compositing: Paul O’Shea, Justin Blaustein, Joey Brattesani Matte Painter(s)/ Texture: Tim Clark, Shannon Burkley, Dark Hoffman
Editorial: Cosmo Street Editor: Tom Sherma Producer: Karen Hennegan
CREDITS Agency: Team One, Los Angeles ECD – Chris Graves GCD(s) – Gavin Lester, Jon Pearce EP – Jack Epsteen AP – Erin Finch
Production Co – MJZ Director – Dante Ariola DP – Toby Irwin
Editorial – Rock Paper Scissors Editor – Andrea MacArthur
VFX Co – A52 VFX Supervisor – Patrick Murphy
Music Co – HUM Composer – Chris Brady
CREDITS Agency: Mono
Production Company: EyeballNYC Limore Shur: Creative Director Mike Sullo: Head of Production Thomas Downs: Editor David Pocull: Lead Designer/Animator Ayato Fujii: Designer/Animator Neil Stuber: Designer/Animator Ghazia Jalal: Designer/Animator Johan Wiberg: Animator Erica Hirshfeld: Producer
Jill Greenberg: Photographer Judith Gatesman: Producer Gretchen Hilmers: Digital Retoucher Wardrobe: Brian Primeaux Groomer: Kim Verbeck Special FX M/U: Lisa Ruckh Male Talent: Traig Trimbo Animal Handlers: Fellow Earthlings’ Wildlife Center Denise Robertson
Beyond Bears Mark Dumas
Benay ¹s Bird & Animals Lemur: Benay Karp
First Assistant: Jon ³Brooklin ² Rosenstock 2nd Assistant: Steve McAghon Assistant: Eric Macklin Assistant: CJ DeWolf Assistant: Chris Schultz Intern: Ella Dowell PA: Yasmin Brenan Set Builder: Will Lidderdale Digital Tech: Eric Vlasic
CREDITS Agency: Campbell Ewald Vice Chairman/CCO: Bill Ludwig CD(s): Robin Todd and Michael Stelmaszek ACD/AD: Bob Guisgand ACD/Copywriter: Duffy Patten SVP/EP(s): Mary Ellen Krawczyk, Linda Kemp
Production Company: Anonymous Content Director: Joseph Kosinski CD: David Fincher DP: Claudio Miranda Executive Producer: Jeff Baron EP/Head of Commercials: Dave Morrison Head of Production: Sue Ellen Clair Producer: Aris McGarry Production Supervisor: Jeff Shupe
Visual Effects: Digital Domain VFX Supervisor(s): Vern Wilbert, Eric Barba CG Supervisor: Doug Wilkinson Producer: Michael Crapser
Editorial: Spotwelders Editor: Robert Duffy EP: David Glean Producer: Steven Reiss
CREDITS Agency: TeamDetroit-JWT Art Director: Victor Rosinski Copywriter: John Kmiecik Producer: Kris Kulas
Prod Company: Arf Director: Peter Corbett DP: Tom Cox
Post/Effects: Click 3X Lead CG Artist: Anthony Filipakis Lead VFX Artist: John Budion CG Animator(s): Marcelo Cermak, Susan Taffe, Tom Hurlburt, Jongmoon Woo, Sung Kim EP: Jason Mayo Producer: Jared Yeater
Editorial: Click 3X Editor: Tom Matheu EP: Jason Mayo Producer: Jared Yeater
Telecine: Company 3 Colorist: Victor Mulholland
Sound Design: Gold Sound Sound Designer: Brian Gold
Music: Gold Sound Composer: Brian Gold/Brad Fairman
CREDITS
Client: Under Armour Spot Title: The Gathering Air Date: Super Bowl
Prod Company: Backyard Director/DP: Ericson Core EP: Peter Steinzeig Producer: Karen Chen
Editorial: Beast LA/NY Editor: Igor Kovalik Assistant Editor(s): Jason Uson, Cudjo Collins EP: Valerie Petrusson Producer(s): Jaime Hagler, Julia Williams, Adrienne Tarain
Post/Effects: Asylum VFX Supervisor: John Fragomeni CG Supervisor: Sean Faden EP: Michael Pardee Bidding Producer: Michael Hanley VFX Producer: Cassandra Khavari CG Producer: Jeff Werner VFX Production Coordinator: Diana Cheng Inferno: James Allen, Rob Trent, Mark Renton 3D/Massive: Dan Warom, Marion Spates 3D/Lead Modeler: Greg Stuhl 3D/Animation: Kevin Culhane 3D/RND/Massive: Gunther Schatz 3D/Lead Lighting: Matthew Maude 3D/Lighting/Animation: Yurichiro Yamashita 3D/Lighting: Denis Gauthier 3D/Lighting TD: Brian Bell 3D/Modeling: Frank Taylor, Julian Sarmiento Tom Stanton, Scott Brust, Ana Sidenblad, Steve Rheinfrank 3D/Animating: Matt Hackett 3D/Tracking: Matt Fuller, Gary Laurie, Mike Lori, Eddie Offerman Lead Matte Painting: Tim Clark Matte Painting: Milica Djukic, Daveed Schwartz Matte Painting/Texturing: Shahen Jordan Texturing: Jennifer Jung Kim, Paul Fedor, Alexi Steinhauer, John Hart
Roto Supervisor: Elissa Bello Lead Roto: James Lee Roto: Edie Paul, Chris Cortese, Midori Otsubo, Stephanie Ide, Laura Murillo, Stephen Edwards, Merlin Carroll, Jason Bidwell, Dan Linger Paint: Valy Lungoccia, Junko Schugardt, Huey Carrol
Sound Designer: Rob Sephton
Music: Machine Head
CREDITS Agency: McCann Erickson Chief Creative Officer: Joyce King Thomas Executive Creative Director: Steve Ohler Group Creative Director; Brian McDermott Creative Director, A.D: Mike Gambino Creative Director, CW: Jeff Taylor Director of Verizon Production: Michele Ferone Senior Producer; Jeri Slater Business Manager: Cece Critchley Group Account Director: Kristin Rooney Account Supervisor: Tara Humann Account Executive: Brynn Sherman
Production Company: Supply & Demand Director: Greg Popp
Post/Effects: Charlex, Inc. Executive Creative Director: Alex Weil CG Supervisor: Keith McCabe Animation Director: Anthony Tabtong Lighting Director: James Fisher Lead Character TD: Stephen K. Mann Modeling Supervisor: Alex Cheparev Character Design: Todd Winter Animator: Ferdinand Terado Lead Lighter: Gong Myung Lee Lighting TD: Cesar Kuriyama Lighting TD/Texture Artist: Jeff Chavez Lighting TD/Texture Artist: Will Atkin Lighting TD/Texture Artist: John Cook Lighting TD/Texture Artist: John Volny Character TD: Andre Stuppert Effects TD: Greg Ecker Texture Artist: Jina Lee Senior Flame Artist: Marc Goldfine Flame Artist: Jesse Newman Flame Artist: Mike Mendizabal Designer: John O’Callaghan 2D Animator/Designer: Bowe King VP/Executive Producer: Adam Isidore Producer: Chris Volckmann
Editorial Company: Cosmo Street Editor: Aaron Langley
Music House: Face the Music
Audio: Headroom
Telecine: The Mill
CREDITS Ad Agency: Wieden+Kennedy City/State: Portland, Or Creative Directors: Mark Fitzloff, Monica Taylor Art Director: Eric Baldwin Copywriters: Jason Bagley (“Self-Help Yourself”), Michael Illick (“Help You”) Agency Producer: Jeff Selis
Production Company: The Directors Bureau City/State: Los Angeles, Ca Director: Mike Mills Executive Producers: Cayce Cole, Melissa Culligan Line Producer: Youree Henley Director Of Photography: Carl Nilsson
Editorial Company: Rock Paper Scissors Executive Producer: Carol Lynn Weaver Editor: Angus Wall Asst. Editor: David Brodie
Visual Effects Company: A52 Executive Producer: Linda Carlson Producer: Megan Meloth On-Set Vfx Supervisor, Vfx Supervisor: Patrick Murphy Flame Artists: Patrick Murphy, Tim Bird
Music (“Self-Help Yourself”): Tonefarmer Executive Producer: Tiffany Senft Creative Director: Ray Loewy Composer: Jared Hunter
Final Mix: Pop Sound
Credits Agency: Merkley + Partners/NY GCD/Copy(s): Chris Landi, Scott Zacaroli Group CD/Art Director: David Fox Agency Producer: Alex Kobak
Production Company: H.S.I./bicoastal Director: Arni & Kinski EP: Ellen Jacobsen Producer: Amanda Clarke
Editorial: Cosmo Street/NY Editor: Steve Bell Producer: Karen Henegan Telecine: Company 3/NY
Post/Effects: rhinofx/NY CD: Vico Sharabani Lead Inferno Artist: Julie Mai Inferno Artist (s): Udi Edni, Dan Kelly Digital Artist/TD: Bogdan Mihajlovic TD/Lead Lighter: David Berfgoff Digital Artist/Modeler: Chris Hill Digital Artist/ Particles: Ivan Guerrero Managing Director: Rick Wagonheim Senior EP: Camille Geier Producer: Linda Gallagher
Music: WickedMusic.com /NY Producer: Daniel Freedman Composer: Fer Isella
Credits:
Client: VOOM HD Networks VP, Creative Director: Ben Rubin Creative Director: Jason Bylan
Production/VFX/Design/Editorial Company: Superfad/Seattle, WA Director / Creative Director: Dade Orgeron Executive Producer: Rob Sanborn Designers: David Viau, Luke Allen Simulation Artist: Phiphat “P” Pinyosophon Editor: Ryan Haug Producer: Nate Barr
Original Music By: Matt Hutchinson
CREDITS Client: COI ‘Department of Health
Agency: Miles Calcraft Briginshaw & Duffy Creative Directors: Malcolm Duffy & Paul Briginshaw Agency Producer: Caroline Angell
Production Company: Pink Producer: Karen Cunningham Director: Michael Geoghegan Production Mgr: Tim Francis
Edited by: Cut & Run
Post Production: Lola 2d Supervisor: Rob Harvey (Creative Director Lola) 3d Supervisor: Grahame Andrew (Managing Director) Producer: Michelle Martin 3d ‘XSI: Grahame Andrew, Tim Zaccheo, Siobhan Fowler , Katrin Geilhausen, Rhys Williams , Gerald Chrome & Haarvard Ness 2D Flame: Rob Harvey 2DShake: Max Wright, Joe Cork, James Cattell & Kelly Lindsay
Technologies used: Autodesk Flame, Maya, Gen Arts Sapphire Sparks, Mac.
Topics: Uncategorized
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