Tag Archives: ad agency

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.

Editor Eddie Ringer leaves agency life for Wildchild

Editor Eddie Ringer, who also lists directing on his resume, has joined Wildchild + bonch, the New York- and LA-based editorial, design and production collective founded by editor Yvette Piñeyro.

After six months freelancing for various Bay Area ad agencies, including Goodby Silverstein & Partners, BarrettSF and Godfrey Q, Ringer decided to plant roots at Wildchild. Prior to this recent round of freelancing he spent over eight years at the Sausalito agency Butler Shine Stern + Partners (BSSP), where he edited and directed many ad projects that included TV spots as well as longer-format web videos and digital projects.

He’s collaborated with such talent as Noam Murro, who directed a recent high-style Benefit Cosmetics spot Ringer cut, and Erich Joiner of Tool, who shot a comic campaign for Greyhound that highlights Ringer’s timing, pacing and ear for sound design and audio.  Ringer cut MJZ director Craig Gillespie’s recent Priceline campaign starring William Shatner and @radical.media director Steve Miller’s comic Roku campaign, as well as editing the agency’s Raise the River PSA online videos starring Robert Redford and Will Ferrell.

With his directing hat on he’s shot projects not only for BSSP clients such as Mountain Hardware and Radio Shack but also produced, directed and edited a short documentary for Vice Media as well as a music video for the hip-hop artist DaVinci.

“Eddie’s a filmmaker at heart,” says BSSP executive creative director John Butler. “He’s a talented director/editor who knows how to put something together extremely well. So he was more than an editor here — he was the guy who could help us create content, bring it to life, and then put it together in editorial. We miss him.”

Ringer is looking forward to this new phase of his advertising career as he settles in at Wildchild.  “I felt it was time to take the next step and join a company where I could rekindle many of the relationships I’ve had with creatives and start building new ones,” he says. “I’m excited about the prospect of working on a wider range of brands and collaborating with new directors.”

A Pittsburgh native, Ringer attended the  Art Institute of Pittsburgh, studying film and video. It was there that he found fellow students were always turning to him to edit their projects. He relocated to the Bay Area and applied for a job at BSSP, back when the agency was considerably smaller. Starting in the tape vault, his talent and skill set grew along with the agency as its client base expanded.

Studio Trilogy provides audio post for ‘California Rocks’ ad campaign

The California Rocks campaign, via Sacramento ad agency MeringCarson and the California Earthquake Authority, came to San Francisco’s Studio Trilogy for audio post recently. Engineer Chris Konovaliv hosted agency producer Christina Staal and creative director Scott Conway to oversee the recording of talent from all over the country via ISDN.

“Everything revolves around the California Rocks concept,” explained Conway.  “We start out with the unspoken rules of California: always bring a sweater to the Bay Area, bug spray for hiking in the Sierras, and then finishing with earthquakes and the peace of mind that comes from insurance with the California Earthquake Authority.”

According to producer Christina Staal, she and Conway were at Studio Trilogy to oversee the recording of seven voiceovers. The first two were at Studio Center in Virginia, the rest were all calling in from their home studio’s ISDN.  Then it was up to Konovaliv to edit and work his magic with the music. The finished California Rocks TV spot can be seen on YouTube here: https://www.youtube.com/watch?v=qX-0xl22k2A

Designed by WSDG’s John Storyk, Trilogy’s 8,800-square-foot facility houses three control rooms, music and voice recording studios, multiple lounges and a garden/BBQ area. An on-site 1,200 square foot luxury apartment with media lounge and chef’s kitchen is also available.

 Photo Credit: David Goggin.