Category Archives: commercials

Behind the Title: Arnold Worldwide’s Jon Drawbaugh

NAME: Jon Drawbaugh

COMPANY: Arnold Worldwide

CAN YOU DESCRIBE YOUR COMPANY?
Arnold is a global creative agency that sits within Havas Creative Group and has offices in Boston (HQ), London, Madrid, Milan, New York, Prague, São Paulo, Shanghai, Sydney and Toronto.

WHAT’S YOUR JOB TITLE?
EVP, Director of Integrated Production

WHAT DOES THAT ENTAIL?
I like to think of the job as sort of production curator. I am the steward of all the wonderful things that we make as an agency — from sites to apps to video content to still imagery to live brand experiences. I produce by supporting creative solutions and executions. We’re in a period of disruption in the agency world, and I find the opportunities exciting. There’s always something new to learn and a “never been done before” to figure out.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I’m lucky that’s it’s a very roll up your sleeves and dig into the work kind of role. Unlike other leadership roles that are administrative or directorial in nature, I’m very hands-on while still being strategic and holistic. I’ll go from managing staffing allocations into content strategy meetings and then be in an edit bay reviewing creative decks and making ballpark estimates. I also spend a fair amount “producing” for the agency.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Collaborating with my team, creative teams, clients and partners.

WHAT’S YOUR LEAST FAVORITE?
Number crunching.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Late afternoon. If all my meetings are done for the day, it’s a great time to grab a coffee and reflect on the solutions of the day.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I wish I could be an amazing chef with popular, hip restaurants. In reality, I’d likely be working for a production company producing or directing content.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
To be honest, I stumbled into advertising. I didn’t know anything about it until I moved to New York City. I landed a temp job at Messner Vetere Berger McNamee Schmetter as a receptionist. Advertising seemed so glamorous, what with the producers jetting off to foreign countries and working with famous feature directors. It sounded much more fun than what I had been doing, which was making copies in the basement of a law firm.

From there I worked in the creative department and dabbled in copy writing. I wanted to get to making TV spots quickly, so I figured taking the producer track would get me there faster. Plus, I was producing theater projects on the side and discovered I could actually get paid for producing if I worked at an ad agency.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I’m new to Arnold, so I don’t have my fingerprints on any projects just yet, but I’m a big fan of the recent work like Jack Daniel’s Global Barrel Hunt and their Our Town film (pictured). I also love the Hershey’s My Dad spot and Reese’s #AllTreesAreBeautiful social campaign.

Prior to Arnold, I’m really proud of the Qualcomm Invisible Museum app and Fabric Content projects I worked on out of DDB SF.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
That’s a tough one. I’m so proud of a lot of the work I’ve made over the years. For example, the massive Acura TLX integrated launch we did at Mullen LA, the documentary film I made with Lucy Walker Make Haste Slowly: The Kikkoman Creed, or the viral hit Nanerpus before there were viral hits.

But I’d say the animated short Smutley for AIDES (the French association tackling HIV and AIDS) I produced at Goodby, Silverstein and Partners is one of my proudest. A chance to use our ad skills for good, and how many times in a career can you say you made a cartoon about a cat having sex with all different kinds of animals to Joan Jett’s “Bad Reputation.”

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My iPhone, my vintage HiFi, and my camera. Running water and heat are pretty cool, too.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram, Facebook, Twitter, SnapChat, Vine, Houseparty, Tumblr, Periscope, LinkedIn, Pinterest and others.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? 
I love music. All kinds. But generally I don’t have a lot of time at the office to plug in my headphones. When I do, I generally use Spotify or Apple Music to listen to the Indie genre.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I like to listen to LPs on my vintage HiFi with my family. It’s our important family together time. We like to go hunting for vinyl together on weekends. Record Store Day is like a second Christmas for us.

Artifact helps goat breathe fire for Georgia Keno spots

Atlanta-based Artifact Design completed VFX and design work on The Fire King, the latest 30-second spot for Georgia Lottery Keno! via BBDO Atlanta. Playing on the popularity of medieval fantasy (we’re looking at you, Game of Thrones), this humorous spot features Kevin “the fire-breathing” Goat reprising his heroics from earlier campaigns.

The Fire King story follows Kevin’s quest for the throne in the land of 12 realms. Battles and cooking of meat ensue before he and his human sidekick, James, oust the sitting King Aragor with a fate-sealing blow: “Your dragon is no goat,” jokes James. The voiceover concludes with, “Be the king of your castle. Win $100,000 300 times a day playing Keno!”

Artifact has collaborated with BBDO Atlanta on the Georgia Lottery campaign for the past several years. Among the previous five spots, Kevin has been seen flying a fighter jet, and dueling with evil villains in a spy drama.

“The agency is really good about involving us during their pre-production process to ensure everything goes smoothly on set,” explains Artifact creative director Ryan Tuttle. “This is huge for us. By allowing open communication with the production team, director and DP we’re able to figure out exactly what we want to do on set so that we don’t waste time and, more importantly, achieve the best creative assets we can.”

Tuttle reports that VFX have always been crucial to making Kevin’s fire-breathing a reality “since it’s what usually gets him and James out of trouble, or saves the day. “Rather than rely on 3D simulation to create the fire, we partnered with the production company’s pyro team and created the effect practically,” he continues. “This approach has given us by far the most believable results ever since we began working on this campaign.”

The opening scene required extensive matte painted landscapes, as well as painstaking crowd duplication for the army. Perhaps the biggest challenge that Artifact overcame was the project’s fast turnaround of less than two weeks.

“This spot really does show how we can achieve the highest level of VFX and finishing services for our clients,” reports Tuttle. “It also demonstrates that we’re able to be part of a bigger team and work with the agency as well as other partners, from editorial, to color to sound. We also provided design and animation of the end-tags for these spots.”

For all the VFX comps, Artifact called on Flame. Design and animation was all handled in the Adobe Creative Suite, specifically After Effects, Photoshop and Illustrator. According to the Artifact team, a very important piece of technology was a hard drive. Because of the quick turnaround time, they had to move quickly, especially for Scene One. They were able to work with a DIT on set and get all of the plates shot from the first scene and begin working almost immediately.

 

Dell 6.15

2016 HPA Award winners

The Hollywood Professional Association (HPA) held its annual awards this week at the Skirball Cultural Center in Los Angeles. The HPA Awards recognize individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world.

Awards were bestowed in creative craft categories honoring behind-the-scenes artistry, and a host of special awards were also presented.

The winners of the 2016 HPA Awards are:

Outstanding Color Grading – Feature Film

Carol
John Dowdell // Goldcrest Post Productions Ltd

WINNER – The Revenant
Steven J. Scott // Technicolor Production Services

Brooklyn
Asa Shoul // Molinare

The Martian
Stephen Nakamura // Company 3

The Jungle Book
Steven J. Scott // Technicolor Production Services

Outstanding Color Grading – Television

Vinyl – E.A.B
Steven Bodner // Deluxe/Encore NY

Fargo – The Myth of Sysiphus
Mark Kueper // Technicolor

Outlander – Faith
Steven Porter // MTI Film

WINNER – Gotham – By Fire
Paul Westerbeck // Encore Hollywood

Show Me A Hero – Part 1
Sam Daley // Technicolor PostWorks NY

Outstanding Color Grading – Commercial
Fallout 4The Wanderer
Siggy Ferstl / Company 3

Toyota Prius – Poncho
Sofie Borup // Company 3

NASCAR – Team
Lez Rudge // Nice Shoes

Audi R8 – Commander
Stefan Sonnenfeld // Company 3

Apple Music – History of Sound
Gregory Reese // The Mill

Pennzoil – Joyride Circuit
Dave Hussey // Company 3

WINNER – Hennessy – Odyssey
Tom Poole // Company 3

Outstanding Editing – Feature Film

The Martian
Pietro Scalia, ACE

The Big Short

The Revenant
Stephen Mirrione, ACE

WINNER – The Big Short
Hank Corwin, ACE

Sicario
Joe Walker, ACE

Spotlight
Tom McArdle, ACE

Outstanding Editing – Television (TIE)

Body Team 12
David Darg // RYOT Films

Underground – The Macon 7
Zack Arnold, Ian Tan // Sony Pictures Television

Vinyl – Pilot
David Tedeschi

martin-nicholson-ace-greg-babor-editing-for-tv-winners-at-2016-hpa-awards

Roots winners for editing, Martin Nicholson, ACE, Greg Babor

WINNER – Roots – Night One
Martin Nicholson, ACE, Greg Babor

WINNER – Game of Thrones – Battle of the Bastards
Tim Porter, ACE

Outstanding Editing – Commercial

WINNER – Wilson – Nothing Without It
Doobie White // Therapy Studios

Nespresso – Training Day
Chris Franklin // Big Sky Edit

Saucony – Be A Seeker
Lenny Mesina // Therapy Studios

Samsung – Teresa
Kristin McCasey // Therapy Studios

Outstanding Sound – Feature Film

Room
Steve Fanagan, Niall Brady, Ken Galvin // Ardmore Sound

Eye In The Sky
Craig Mann, Adam Jenkins, Bill R. Dean, Chase Keehn // Technicolor Creative Services

Batman Vs Superman: Dawn of Justice
Scott Hecker // Formosa Group
Chris Jenkins, Michael Keller // Warner Bros. Post Production Services

Zootopia
David Fluhr, CAS, Gabriel Guy, CAS, Addison Teague // Walt Disney Company

WINNER – Sicario
Alan Murray, Tom Ozanich, John Reitz // Warner Bros. Post Production Services

Outstanding Sound – Television

WINNER – Outlander – Prestonpans
Nello Torri, Alan Decker, Brian Milliken, Vince Balunas  // NBCUniversal Post Sound

Game of Thrones – Battle of the Bastards
Tim Kimmel, MPSE, Paula Fairfield, Mathew Waters, CAS, Onnalee Blank, CAS, Bradley C. Katona, Paul Bercovitch // Formosa Group

Preacher – See
Richard Yawn, Mark Linden, Tara Paul // Sony Sound

Marco Polo – One Hundred Eyes
David Paterson, Roberto Fernandez, Alexa Zimmerman, Glenfield Payne, Rachel Chancey // Harbor Picture Company

House of Cards – Chapter 45
Jeremy Molod, Ren Klyce, Nathan Nance, Scott R. Lewis, Jonathan Stevens // Skywalker Sound

Outstanding Sound – Commercial

WINNER – Sainsbury’s – ­Mog’s Christmas Calamity
Anthony Moore, Neil Johnson // Factory

Save the Children UK – Still The Most Shocking Second A Day
Jon Clarke // Factory

Wilson – Nothing Without It
Doobie White // Therapy Studios

Honda – Paper
Phil Bolland // Factory

Honda – Ignition
Anthony Moore // Factory

Outstanding Visual Effects – Feature Film

Star Wars: The Force Awakens
Jay Cooper, Yanick Dusseault, Rick Hankins, Carlos Munoz, Polly Ing // Industrial Light & Magic

WINNER – The Jungle Book
Robert Legato, Andrew R. Jones
Adam Valdez, Charley Henley // MPC
Keith Miller // Weta Digital

Captain America: Civil War
Russell Earl, Steve Rawlins, Francois Lambert, Pat Conran, Rhys Claringbull // Industrial Light & Magic

The Martian
Chris Lawrence, Neil Weatherley, Bronwyn Edwards, Dale Newton // Framestore

Teenage Mutant Ninja Turtles: Out of the Shadows
Pablo Helman, Robert Weaver, Kevin Martel, Shawn Kelly, Nelson Sepulveda // Industrial Light & Magic

Outstanding Visual Effects – Television

Supergirl – Pilot
Armen V. Kevorkian, Andranik Taranyan, Gevork Babityan, Elaina Scott, Art Sayan // Encore VFX

Ripper Street – The Strangers’ Home
Ed Bruce, Nicholas Murphy, Denny Cahill, John O’Connell // Screen Scene

Black Sails – XXI
Erik Henry // Starz
Matt Dougan // Digital Domain
Martin Ogren, Jens Tenland, Nicklas Andersson // ILP

The Flash – Guerilla Warfare
Armen V. Kevorkian, Thomas J. Conners, Andranik Taranyan, Gevork Babityan, Jason Shulman // Encore VFX

Holly Shiffman and Mike Chapman with VFX winner for Game of Thrones, Matthew Rouleau.

WINNER – Game of Thrones – Battle of the Bastards
Joe Bauer, Eric Carney // Fire & Blood Productions
Derek Spears // Rhythm & Hues 
Glenn Melenhorst // Iloura
Matthew Rouleau // Rodeo FX

Outstanding Visual Effects – Commercial

Sainsbury’s – Mog’s Christmas Calamity
Ben Cronin, Grant Walker, Rafael Camacho // Framestore

WINNER – Microsoft Xbox – Halo 5: The Hunt Begins
Ben Walsh, Ian Holland, Brian Delmonico, Brian Burke // Method

AT&T – Power of &amp
James Dick, Corrina Wilson, Euna Kho, Callum McKeveny // Framestore

Kohler – Never Too Next
Andy Boyd, Jake Montgomery, Zachary DiMaria, David Hernandez // JAMM

Gatorade – Sports Fuel
JD Yepes, Richard Shallcross // Framestore

Emerging Leader Award

2016 Winners- Jesse Korosi, Jennifer Zeidan

The following special awards, which were previously announced, were also presented this evening:

HPA Engineering Excellence Award

Sponsored by NAB Show

The HPA Engineering Excellence Award is recognized as one of the most important technology honors in the industry, spotlighting companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies.  Submissions for this peer-judged award may include products or processes, and must represent a step forward for its industry beneficiaries.

2016 Winners 

Aspera: FASPStream

Grass Valley: GV Node Real Time IP Processing and Edge Routing Platform

RealD: Ultimate Screen

SGO: Mistika

Honorable mentions:
Grass Valley: LDX 86N Native 4K Series Camera

Canon USA, Inc.: 4K / UHD / 2K / HD display

HPA Judges Award for Creativity and Innovation

The HPA Judges Award for Creativity and Innovation recognizes companies and individuals who have demonstrated excellence, whether in the development of workflow and process to support creative storytelling or in technical innovation. The Judges Award for Creativity and Innovation is conferred by a jury of industry experts.

2016 Winner- The Mill: Blackbird

HPA Lifetime Achievement Award

The HPA Lifetime Achievement Award is given to an individual who is recognized for his or her service and commitment to the professional media content industry. The mission of the award is to give recognition to individuals who have, with great service, dedicated their careers to the betterment of the industry. The Lifetime Achievement Award is given at the discretion of the HPA Board of Directors and the HPA Awards Committee. It is not bestowed every year.

herb-dow

Herb Dow

2016 Honoree- Herb Dow, ACE

The Charles S. Swartz Award

The Charles S. Swartz Award is conferred on a person, group, or company that has made significant artistic, technological, business or educational impact across diverse aspects of the media industry. The award was named in honor of the late Charles S. Swartz, who led the Entertainment Technology Center at the University of Southern California from 2002 until 2006, building it into the industry’s premiere testing bed for new digital cinema technologies.

2016 Honoree – Michelle Munson, Founder and CEO of Aspera


Sarofsky adds VFX/finishing artist Cory Davis, designer Dan Tiffany

Chicago-based Sarofsky, a design-heavy production company, has added creative VFX and finishing artist Cory Davis and designer Dan Tiffany to its staff. A Chicago-based freelance VFX artists for many years, Davis’ Sarofsky resume includes work on the title sequences for the Marvel’s Ant-Man, Captain America: Civil War and Doctor Strange, as well as the main titles for TNT’s Animal Kingdom and a variety of Super Bowl ads. He is a BFA graduate of Ohio University and pursued advanced studies at The Illinois Institute of Art.

“Cory has been working with us for years now as our go-to finishing artist… and I really mean artist, because he is beyond a masterful technician,” says ECD Erin Sarofsky. “He is also a creative force with a distinct point of view.”

Tiffany has been freelancing for Sarofsky and other creative industry firms in Chicago since 2015. A BFA graduate of the Illinois Institute of Art, Tiffany began his career as an intern for creative agency Leviathan before landing a staff position with Daily Planet in 2011. Since going freelance, he has worked on high-profile commercial, broadcast and theatrical projects for Comcast, Leo Burnett and mcgarrybowen, to name but a few. He was also an integral part of Sarofsky’s design team behind the main titles for both Captain America: Civil War and Doctor Strange.

Main Title Caption (L-R) Cory Davis and Dan Tiffany.


Nice Shoes opens Toronto studio

A New York City post production mainstay for the past 20 years, Nice Shoes has gone international with the opening of Nice Shoes Toronto. The new studio is made up of creative directors Gary Thomas and Matt Greenwood, design director Stefan Woronko, senior colorist Roslyn Di Sisto and executive producer Kristen Van Fleet.

Prior to joining Nice Shoes, the team (who come from the now defunct post house Smith) delivered a series of vibrant animations and short films for the Cannes Lions Festival, working closely with Leo Burnett Chicago executive producer Juan Woodbury. Van Fleet and Di Sisto also graded Drake’s hit “Hotline Bling,” working with Director X on the color-driven music video.

Thomas, Greenwood and Woronko will also be added to the now-international Nice Shoes Creative Studio roster, which recently showed off the studio’s animation and virtual reality capabilities by designing and editing the opening titles of the 2016 ANA Masters of Marketing Conference.

Di Sisto joins the color and finishing team, who have delivered work for brands such as Volvo, Samsung, Jeep, McDonald’s and MasterCard as well as performers BeyoncéKanye WestLady Gaga and Pink. As executive producer, Van Fleet unites the divisions, working closely with creative studio EP Angela Bowen and color and finishing EP Tara Holmes.

“Toronto is one of the top hubs for advertising in the world, and we’ve assembled a team that reflects the high quality of creative content being produced in this market,” says managing director Justin Pandolfino.

The newly launched location will offer directors and clients in the US planning shoots in Canada a convenient and competitive production partner. Nice Shoes Toronto will be integrated with the studio’s Remote Color Grading network, creating opportunities for Di Sisto to work with clients throughout North America and for clients in Toronto to connect with the company’s full roster of colorists. Di Sisto will be working with FilmLight’s Baselight and with monitors calibrated by Nice Shoes’ team of engineers.

“Our Toronto studio not only extends our physical reach, but it expands the combined resources and talents of all locations, allowing us to be a more versatile and nimble partner to our clients,” adds Nice Shoes Creative Studio EP Bowen.

Main Photo Caption: (Back Row, L-R) Gary Thomas and Matt Greenwood. (Front, L-R) Kristen Van Fleet, Stefan Woronko, Adrian Gluvakovich and Roslyn Di Sisto.


Slim adds feature director Jeff Baena and director/DP Wondo

Slim has grown its roster with feature film director Jeff Baena and automotive director/DP Wondo. Baena is currently finishing up his third directorial outing, the comedy The Little Hours, which is due to be released in 2017. In addition to his film work, Baena recently directed a comedic campaign for Hulu with actress Aubrey Plaza. Baena says his Altman-esque approach to directing allows his actors to bring a bit of their own personality to each of their characters.

He began his career as a PA for Robert Zemeckis in Los Angeles following his completion of film school in New York. He later met director David O. Russell while working as an assistant editor, leading the two to co-write I Heart Huckabees (2004). Baena went on to direct Life After Beth (2014) and Joshy (2016), which featured ensemble casts including Aubrey Plaza, John C. Reilly, Molly Shannon, Thomas Middleditch, Alison Brie and Jenny Slate.

Director/DP Wondo has also joined Slim. With over 20 years behind the camera, Wondo is an expert on the Russian Arm — remote control cranes and gyro-stabilized flight heads that are mounted on customized performance vehicles — and is accomplished at shooting for VFX. He has directed spots for Mercedes Benz, Chevy (Commonwealth), Kia (David&Goliath), BMW, Porsche (Cramer Krasselt) and Bugatti. He divides his time between Los Angeles and Berlin.

Main Photo: L-R: Wondo and Jeff Baena.


Behind the Title: Reel FX editor Chris Collins

NAME: Chris Collins
 
COMPANY: Reel FX (@wearereelfx) in Dallas
 
CAN YOU DESCRIBE YOUR COMPANY?
Reel FX is made up of directors, editors, animators, VFX artists, audio engineers and more. We work on everything feature length projects to commercials to VR/360 experiences.

WHAT’S YOUR JOB TITLE?
Editor

WHAT DOES THAT ENTAIL?
What it means to be an editor depends on what kind of editor you ask. If you ask me, the editor is the final director — the person responsible for compiling and composing the hard work of production into a finalized coherent piece of media. Sometimes it’s simple and sometimes there is a lot of creative problem-solving. Sometimes you only cut footage, sometimes you dive into Photoshop, After Effects and other programs to execute a vision. Sometimes there is only one way to make a video work, and sometimes there are infinite ways a piece can be cut. It all depends on the concept and production.

Now with VR, a whole new aspect of editing has opened up by being able to put on a headset and be transported into your footage. I couldn’t be more excited to see the new places that VR can take editing.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think people look at editors and think the job is easy because they sit in a cozy office on the computer… and sometimes, they’re not wrong. But there is a lot of hidden stress, problem-solving and creativity that is invisible within a finished piece of media. They may watch a final cut and never notice all the things an editor did or fixed — and that’s what makes a good editor.

WHAT DO YOU EDIT ON?
I cut on Avid Media Composer and Adobe Premiere but I also use Adobe’s After Effects and Photoshop in my work.

DO YOU HAVE A FAVORITE PLUG-IN?
Right now it would have to be Mettle’s Skybox VR Player because it allows me to edit and view my cut of 360 footage within the Oculus headset — so ridiculously cool!

WHAT’S YOUR FAVORITE PART OF THE JOB?
Screening a cut to someone for the first time and watching their reaction.

WHAT’S YOUR LEAST FAVORITE?
The fact that the majority of people will never see or know all the unused footage and options that didn’t make the cut.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
I’d have to say those first few hours in the morning with my coffee and late at night after hours because that is when I am the most creative.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Photography.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I’ve been shooting and editing videos since I was a little kid. It carried on into high school and then into college, since that’s really what my hobby and passion was. It was one of the only things I was good at besides video games so it seemed like a no-brainer.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
TGI Fridays Countdown, Ram Division of Labor, Jeep Renegade campaign, Tostitos Recipe Videos and Texas Health Resources.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
A video I cut called Jeep Legendary Lives. It started out as a personal project of mine that I was cutting after hours, and eventually became part of a presentation video that opened the Detroit Auto Show. It’s also one of the first things that got my foot in the door as an editor.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Phone. Computer. Camera.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Facebook. Instagram. Twitter.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? 
Only if the footage does not have audio and I am in the organization and melting phase. It’s usually some sort of chill electronic — typically instrumental.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Playing video games or taking photos really helps to distract my brain, but typically all I have to do is remind myself that I am getting paid doing something I love and something that I’ve been passionate about since I was a kid. With that thought, it’s hard not to be anything but grateful.


The Colonie provides editing, VFX for Toyota Corolla spot

Chicago’s The Colonie has teamed with Burrell Communications to provide editorial, visual effects and design services for I Do, a broadcast spot introducing the 2017 Toyota Corolla.

Creative editor Bob Ackerman edited with the carmaker’s tagline, “Let’s Go Places,” in mind. Fast-paced cuts and editing effects helped create an upbeat message that celebrates the new Corolla, as well as its target audience — what Toyota refers to as today’s “on-the-go” generation of young adults.

Lewis Williams, Burrell’s EVP/CCO, brought The Colonie onboard early in the process to collaborate with the production company The Cavalry, ensuring the seamless integration of a variety of visual effects that were central to the style of this spot.

The commercial integrates three distinct vignettes. The spot opens with a young woman behind the wheel of her Toyota. She arrives at a city park and her friends help her yarn bomb the surroundings — from hand-knitted tree trunk covers to a slipcover for a love seat and a garbage pail cozy in the likeness of whimsical characters.

barbarFrom the get-go art director Winston Cheung was very focused on keeping the tone of the spot fresh and young. When selecting footage during the edit session, Ackerman and Cheung made sure to use some of the more playful set-ups from the yarn vignette to providing the bold color palette for final transfer.

The second scenario finds an enterprising man parking his Corolla and unloading his “Pop-Up Barbershop” in front of a tall wall featuring artful graffiti. A well-placed painting of a young man’s face extends over the top of the wall completes the picture. As soon as the barber sets up his chair, his first customer arrives.

The third vignette features a young filmmaker shooting footage of the 2017 Toyota as her crew adds some illuminating effects. Taking her cues from this scene, The Colonie senior designer, Jen Moody, crafted a series of shots that use a “light painting” technique to create a trail of light effect. One of the characters writes the spot’s title, I Do with a light, which Moody layered to create a more tangible quality that really sells the effect. VFX supervisor Tom Dernulc took a classic Toyota Corolla from a previous segment and seamlessly integrated it into the background of the scene.

The Colonie’s team explored several methods for creating the various VFX in the spot before deciding upon a combination of Autodesk Flame Premium and Adobe After Effects. Then it was a matter of picking the right moments. Ackerman grabbed some of their top choices, roughed in the effect on the Avid Media Composer, and presented the client with a nearly finished look right from the very first rough cuts.

“Early on, creative director Lisa McConnell had expressed a desire to explore using a series of stills flashing (á la TV’s Scandal) to advance the spot’s story,” says Ackerman. “We loved the idea. Condensing short sequences of footage into rapid progressions of imagery provided us with an innovative way to convey the full scope of these three scenarios in a very limited 30-second time frame — while also adding an interesting visual element to the final spot.”

Fred Keller of Chicago’s Filmworkers provided the color grade, CRC’s Ian Scott performed the audio mix and sound design, and composers Mike Dragovic, Michael Yessian and Brian Yessian provided the score.


Lucky Post helps with the funny for McDonald’s McPick 2 spots

Lucky Post editor Travis Aitken and sound designer Scottie Richardson were part of the new campaign for McDonald’s, via agency Moroch, that reminds us that there are many things you cannot choose, but you can “McPick 2.”

The campaign — shot by production house Poster with directors Plástico and Sebastian Caporelli — highlights humor in the subtleties of life. Parents features a not-so-cool, but well-meaning, dad and his teenage son talking about texts and “selfies” while enjoying McPick 2 meal from McDonald’s. His son explains the picture he is showing him isn’t a selfie, but his father defends, saying, “Yeah, it is. I took it myself.”

Passengers features a little guy sandwiched between two big, muscular guys in a three-seater row on an airplane. The only thing that makes him feel better is that he chose to bring a McPick 2 meal with him.

“Performance comedy, like these spots, is at its best when you’re seeing people interacting in frame,” says editor Aitken, who cut using Adobe Premiere. “You don’t want to manipulate too much in the edit — it is finding the best performances and allowing them to play out. In that sense, editing with dialogue comedy is punctuation. It’s vastly different than other genres — beauty, for example, where you are editing potentially unrelated images and music to create the story. Here, the story is in front of you.”

According to sound designer Richardson, “My job was to make sure dialogue was clear and create ambient noise that provided atmosphere but didn’t overwhelm the scenes. I used Avid Pro Tools with Soundminer and Sony Oxford noise reduction to provide balance and let the performances shine.”

The executive producer for Dallas-based Lucky Post was Jessica Berry. MPC’s Ricky Gausis provided the color grade.

Adam Schwartz and Jim Ulbrich join Nomad Editing

Nomad Editing has expanded its New York staff with the addition of editors/partners Jim Ulbrich and Adam Schwartz. Their hiring comes on the heels of EP/partner Jennifer Lederman and editor/partner Jai Shukla joining the studio earlier this year.

Jim Ulbrich comes to Nomad  — an Avid Media Composer and Adobe Premiere house — after working at a variety of New York-based editorial shops. Since joining Nomad, Ulbrich has worked on projects for Saatchi & Saatchi NY and Toyota with Droga5. He is now finishing a campaign with Grey. He collaborates on many projects with director Matt Smukler from Community Films.

Ulbrich began his career at Berlin Cameron and then moved to 89 Edit. He then moved to Mad River and then Beast where he became a partner in the company. He has edited campaigns for AT&T, Cheerios, Hanes and Coke.

Schwartz has followed a similar career trajectory to Ulbrich. His client list includes big brands such as Google, HP, Verizon, Reebok and Nike. Schwartz has worked with high-profile directors, including Janusz Kaminski, Errol Morris, Jared Hess and Wes Anderson. He’s worked on several projects since joining Nomad, and is now editing with BBDO NY. Schwartz began editing at Lost Planet before he became a founding partner at Beast.