Tag Archives: production

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.

Behind the Title: Volt Studios EP Amanda Tibbits

NAME: Amanda Tibbits

COMPANY: Minneapolis-based Volt Studios

CAN YOU DESCRIBE YOUR COMPANY?
We are a one-stop production shop for high-end creative content. We provide production, post production and design.

WHAT’S YOUR JOB TITLE?
Partner/Executive Producer

WHAT DOES THAT ENTAIL?
Basically, I control the time, money and communication for all projects that come through our doors. I am in charge of figuring out how to bring a piece to life within a client’s timeframe and budget.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I like to refer to myself as a mother hen or air traffic controller, depending on the day. I keep all the artists sane and all the projects moving in and out of the facility.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Getting to work with amazing talent in our studio and collaborating with some of the best creative brains on the client/agency side. And free beer.

WHAT’S YOUR LEAST FAVORITE?
Being attached to my desk all day (i.e. air traffic control).

WHAT IS YOUR FAVORITE TIME OF THE DAY?
This is going to sound crazy, but Monday mornings. We all kind of gather, catch up and talk about what is happening that week.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Tap dancer or tambourine player. Those are jobs, right?

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
This job chose me. I answered a classified ad in the paper, which totally makes me sound like a dinosaur. It was a job as a receptionist at a post house. I had no idea what that meant but as soon as I walked in I knew it was where I belonged. That was 20 years ago.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Arby’s TV campaigns are always fun. Every time I get a rough cut and hear the scripts I crack up. The Subaru brand spots we recently finished made me pretty emotional. We just worked on Life cereal’s first TV spot in a decade. I remember “Mikey Likes It.” So, it was cool to see where the brand has evolved to.

jon-stewartWHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
It was pretty fun to be involved in the Arby’s commercial that was a farewell to Jon Stewart. The combination of Ving Rhames singing the Golden Girls theme song and Jon Stewart’s one-liners… we couldn’t go wrong.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone, Bluetooth in my car and a record player.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m big into Instagram. All my friends want me to Snapchat but I can’t handle one more social media outlet.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I do… Otis Redding, Johnny Cash or The Beastie Boys, depending on my mood.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
See the comment about free beer. No really, I try to get out and enjoy the Minnesota lakes. I also take every minute of my allotted vacation time. No rolling over days over for
this girl.

Flanders Scientific offering two transport cases for OLEDs

Have OLED monitor, will travel? If that’s the case, Flanders Scientific, which offers broadcast monitors and other solutions for production to post, has two options for you.

The first is a new compact custom hardshell transport case for all FSI 24.5-inch OLED monitors. It features a lift-out monitor caddy, with a compartment for a hood, cablesHARD SHELL INSIDE and other accessories. The fully waterproof latching Hardshell Transport Case ($695) is 29 pounds and 32 by 21 by 13-inches big. Inside, custom foam, designed specifically for 24.5-inch FSI OLED monitors — including the AM250, CM250 and DM250 — allows users to put a monitor into the case with FSI’s MM100 VESA to LightStand mount still attached. It’s not designed for use with a desktop stand attached.

The second option is FSI’s TC27 Rolling Trolley Case ($495), which is a lighter and more compact carrying case that has the additional benefit of being able to accommodate a monitor with desktop stand, yoke mount or VESA to LightStand Mount still attached. The TC27 zippered case is made of thermoformed plastic wrapped in cordura and ballistic nylon, which can also be checked as baggage when flying.

The TC27 trolley can easily accommodate most flat panel monitors ranging in size from 23 to 27 inches, including any generation of Apple’s 27-inch iMac computers. It can also be used on many monitors with a yoke mount or VESA to LightStand mount attached. Weighing in at 23.2 pounds, it includes a built-in retractable handle, interior foam padding and oversized wide-base wheels.

Both products can be found at www.shopfsi.com.

@LArge opens NYC location within Napoleon Group

Santa Monica’s @LArge Productions + Post has opened an office in New York City located within The Napoleon Group, one of @LArge’s strategic partners in post. The location offers a permanent East Coast presence and expanded services through Napoleon, including storyboards and previsualization.

@LArge works in two ways. They have the more traditional model of agency/production and post board-flow where they put together a team best suited for a project. They also have an in-house “at agency” model whereby they serve as the production arm for some agencies and are involved from start to finish. The Napoleon Group offers a wide range of post services and talent including animators, editors, designers, illustrators, and character artists.

Why a New York office? @LArge Productions + Post managing director Tracy Mays says, “Our services are offered globally, but we always knew that we wanted to have two US offices — LA and New York. The organic relationship with The Napoleon Group provided the right time/right place opportunity for us to realize this vision.”

“Having just entered into a collaboration with @LArge to launch our live-action division, Napoleon@LArge, we’re thrilled to be able to partner with their team to provide a base of operations for them here in New York,” says Napoleon COO Spiro Kafarakis.

Why fast file transfers are critical to video production, post


By Katie Staveley

Accelerated file transfer software is not new. It’s been around for many years and has been used by the world’s largest media brands. For those teams of content producers, it has been a critical piece of their workflow architecture, but it wasn’t until recently that this kind of software has become more accessible to every size company, not just the largest. And just in time.

It goes without saying that the process of producing and delivering content is ever-evolving. New problems and, as a result, new solutions arise all the time. However, a few challenges in particular seem to define the modern media landscape, including support for a globally distributed team, continuous demand for high-resolution content and managing the cost of production.

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These challenges can be thought of from many different angles, and likewise resolved in different ways. One aspect that is often overlooked is how organizations are moving their precious video content around as part of the pre-production, post and distribution phases of the workflow. The impact of distributed teams, higher resolution content and increasing costs are driving organizations of all sizes to rethink how they are moving content. Solutions that were once “good enough” to get the job done — like FTP or shipping physical media — are rapidly being replaced with purpose-built file transfer tools.

Here are some of the reasons why:

1. Distributed teams require a new approach
Bringing final content to market very rarely happens under one roof or in one location anymore. More and more teams of media professionals are working around the globe. Obviously, production teams work remotely when they are filming on location. And now, with the help of technology, media organizations can build distributed teams and get access to the talent they need regardless of where they’re located, giving them a competitive advantage. In order to make this work well, organizations need to consider implementing a fast file transfer solution that is not only accessible globally, but moves large files fast, especially when bandwidth speeds are less than optimal.

2. File sizes are growing
The demand for higher resolution content is driving innovation of production technology like cameras, audio equipment and software. While HD and even Ultra HD (UHD) content is becoming more mainstream, media professionals have to think about how their entire toolset is helping them meet those demands. High-resolution content means exponentially larger files sizes. Moving large files around within the prepro and post workflows, or distributing final content to clients, can be especially difficult when you don’t have the right tools in place. If your team is delivering HD or UHD content today, or plans to in the future, implementing a fast file transfer solution that will help you send content of any size without disrupting your business is no longer a nice-to-have. It’s business critical.

3. You can’t afford delays
When it comes to getting your files where they need to be, hope is not a strategy. The reality is that production will often finish up later than you hoped. Deadlines are hard and you still need to get your content out the door. Any number of factors can cause you to miss deadlines, but transferring content files shouldn’t be your biggest delay. You can’t afford slow transfer times, or even worse, interruptions that force you start the transfer all over again. Implementing a solution that gives you reliable, fast file transfer and predictability around when your files will arrive is a strategy. Not only will it enable your employees and partners to focus on producing the content, it will help you to create a positive experience for your customers whether they are reviewing pre-release content, or receiving the final cut.

4. Customer experience matters
Any time your customers are interacting with your brand they are forming an opinion of you. In today’s highly-competitive world, it’s imperative that you delight your customers with the content you’re producing and their experience working with you. Your file transfer solution is part of building that positive experience. The solution needs to be reliable and fast and not leave your customers disappointed because the file didn’t arrive when they expected; or make them feel frustrated because it was too painful to use. They should be able to focus on your content, not on how you’re delivering it to them — your solution should just work. It’s a necessary part of today’s media business to have a cost-efficient, low-maintenance way to send and share content that ensures a delightful customer experience.

5. Your business is growing
Moving digital video content has been part of the media business for over a decade, and there have been solutions that have worked well enough for many organizations. But when considering the rapid growth in file sizes, increased distribution of teams and the importance of customer experience, you’ll find that those solutions are not built to scale as your business grows. Planning for the future means finding a solution that has flexibility of deployment, is easy to manage and maintain, and the cost of expansion is proportional to your size. Growth is hard, but managing your file transfer tools doesn’t have to be.

Managing cost and keeping profit margins healthy is as imperative as always. Fortunately the days where every technology purchase requires significant capital investment are waning. The good news is that the availability of cloud-hosted solutions and other advancements have given rise to powerful solutions that are accessible to every size company. As a result, media professionals have affordable access to the technology they need to stay competitive without breaking the bank, which includes fast file transfer software. Investing today in the right solution will make a big impact on your business now and into the future.

Katie Staveley is VP of marketing at Signiant.

Director Lesley Chilcott joins Splendid & Co. roster

LA-based production house Splendid & Co. has added director Lesley Chilcott to its roster. An award-winning filmmaker, documentarian and producer, Chilcott began her career in the commercial world before diving into the documentary arena as a producer of films such as the Academy Award-winning An Inconvenient Truth; the Barack Obama biographic film A Mother’s Promise shown at the 2008 Democratic National Convention; It Might Get Loud, about legendary guitarists The Edge, Jimmy Page and Jack White; and Waiting for Superman, for which she received an award for Outstanding Producer of Theatrical Documentary from the PGA.

Her current documentary, CodeGirl, was released last month. The film tracks the story of 5,000 girls from 60 nations as they competed in an entrepreneurship and coding competition organized by Technovation. Prior to its release in theaters, Chilcott uploaded the film for free on YouTube in conjunction with Google’s Made with Code initiative. In addition to being shown at 64 Google offices worldwide, teen girls from around the globe hosted viewing parties.

Chilcott’s commercial focus establishes her aptitude for the lifestyle realm, directing spots for brands such as Motorola, AT&T, Corona, M&Ms and Cover Girl. Having wrapped CodeGirl, her move to Splendid marks a focused interest in commercials.

“With so many great production companies in the mix, Splendid stood out to me as a highly inventive company that not only supports their talent but is ingenious in the way that they source truly interesting and different work,” says Chilcott. “This is very appealing to me.”

“Lesley brings such unique skill to our roster with her experience as a documentary filmmaker and commercial director,” says Erin Tauscher, Splendid partner and executive producer. “Her ability to elicit incredible performances from real people as well as trained actors really stood out to me when I watched her body of work for the first time.”

Behind the Title: Technical Manager Sam Johnson

NAME: Sam Johnson (@samschannel)

COMPANY: London-based VCCP (@VCCP)/VCCP Kin 
@VCCPKin

CAN YOU DESCRIBE VCCP?
VCCP is an advertising agency comprised of multiple partnership companies. VCCP Kin, one of the companies, produces content and television commercials for the partnership.

WHAT’S YOUR JOB TITLE?
Technical Manager

WHAT DOES THAT ENTAIL?
Day-to-day consultation and management of the technical staff within the production and post-production departments, whilst overseeing all the systems. R&D and project work takes up the rest of my time.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think the amount of involvement I have with the production would surprise people. Helping everyone understand what is required from a post perspective really helps with management and expectations when back in post.

WHAT’S YOUR FAVORITE PART OF THE JOB?
R&D and getting the opportunity to beta test industry software and hardware. R&D is very important to us. As an in-house company, we need to offer a similar experience to that of in-town (Soho and London) studios and cannot afford to fall behind in services offered.

WHAT’S YOUR LEAST FAVORITE?
Troubleshooting!

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Mornings, because it’s the calmest part of my day!

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

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I actually wanted to be an online editor or grader, but the first full day I spent in a suite “onlining” I realized it was something I really didn’t like. I decided to go down the engineering route and ended up in technical management as it offered me the freedom to be part of the whole post-production process. I also I like being a decision maker within the business. It satisfies the control freak in me!

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We are working on a personalized video project for one of our clients, which has proven technically and creatively challenging. That said, I do believe that we’ll be seeing more targeted and personalized videos/content in advertising becoming standardized, so it’s good to be part of its origins.

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WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
A redesign and implementation of the post-production facilities here at VCCP.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone. Terminal. Spell check.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
No one person or channel in particular, but both production and post have a great presence on Twitter. A lot of great voices out there!

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Yes — working in an open plan office, I need music just to help me concentrate! At the moment, I’m loving the new albums from Tame Impala and Miguel. If I’m working on a business case, I love a bit of Max Richter.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
A glass (or two!) of red, and cycling on the weekend.

Quick Chat: Fueld Films EP Brady Anderton

Austin-based Fueld Films, a producer of regional spots for a variety of markets in the heartland, recently grew its roster of talent, which, according to executive producer Brady Anderton, is no small accomplishment.

He likens finding a new director to “finding a four-leaf clover…in winter…in Australia. Or somewhere else that you wouldn’t think had a lot of clovers. It takes perseverance and patience,” he says.

For Fueld, finding talent that’s a good fit is not as simple as checking out a reel, although in some cases the relationship does start that way. “The new Fueld Films directing roster is the culmination of years of hard work,” explains Anderton. “Some directors were people we had collaborated with over the years on a freelance basis, others came as recommendations from creatives we trust. Some were the result of watching reels — literally hundreds and hundreds of reels — and then reaching out for a meeting.”

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Annie Gunn and Doug Chamberlin: two directors who were recently added to Fueld’s roster.

Let’s find out more from Anderton on new hires— Annie Gunn, Nate Balli, Doug Chamberlain, Kevin Kerwin, Nic Iyer and US representation for David Quinn and Jake Kovnat new offices, how they partner with post houses and more.

How do you know you’ve found the right fit for your company?
The key for us, the secret ingredient in our special sauce, is in finding people who represent that rare overlap of talent and a collaborative outlook. We weeded out directors who had amazing reels but weren’t fun to work with, and we similarly passed on friendly directors with a mediocre body of work. Then we were left with a shining few who were talented on set and worth sharing a beer with after we wrapped. Those are the people we signed.

You have also expanded with a new office. Why was now the time, and what will be going on in that office?
Fueld’s vision has always been to position itself as the production company able to aggregate the regional talent in the heartland cities. The only way to do this right is to have roots in those cities. So rather then have two huge offices in LA and NYC, we are focusing on spaces and partnerships in our backyard.

Every year we have added one new office — this year I moved my family to Denver to more fully integrate and understand the needs of this market. Next on the list will be Detroit. Within three years we hope to have coverage over the five main regions we have determined are a good fit for what we have to offer.

Each new city provides new opportunities and a unique set of needs. Once those are determined, we seek out the best local talent to partner with. The result is a whole new recipe customized for that market. This in turn brings new work to the local market from local clients and new clients around the country. This is what gets us excited.

Shiner's Wild Hare Pale Ale: Breeding Habits.

Shiner’s Wild Hare Pale Ale: Breeding Habits.

When a client comes to you, how do you decide which director is best for the best project?
There is always an aspect of the boards that sticks out in terms of a dominant genre, be it comedy, narrative, action, what have you. So we want to line up that overall feel of a director to the creative at hand. But beyond that, part of our success, I think, lies in the fact that we don’t submit someone who has a duplicate spot already on their reel. If an agency wants a spooky vampire spot and John Q. Director has done something really similar, then he will either be bored shooting this new spot as is, or he’ll want to morph it in a way that is more exciting and challenging to him but perhaps no longer true to the agency’s vision.

What we like to do is find a director who has created elements of those new boards — like an outdoor shot that relied heavily on a similar lighting technique, or a dark comedy spot that feels pretty sinister if you watch it without the sound — but never put them together in exactly this way before. That way, we can present the ad agency with a director (or three!) who has the chops to pull off the boards but everyone will be experiencing this particular style of shoot for the first time as a team. It’s more exciting this way, and our directors and clients are happier with the result.

A recent spot for Weber grills.

A recent spot for Weber grills.

What about camera choice? What does that come down to? Project? Personal choice? Budget?
We always want to honor the creative, but with the incredible technological advances in digital cameras over the last five years, we find that we are relying more and more on exquisite lighting and a comprehensive lens package. Those assets seem to be the great equalizers that make a more entry-level camera competitive, and a high-end camera really sing.

That being said, we work a lot with the Red Epic, the Sony F55, the Arri Alexa and the Red Dragon.

Fueld has relationships with post houses. Who are they and how do you choose them?
There are core cities that we seem to shoot in over and over. Our relationships there have grown organically over the years, and many of our post partners have come to us by way of agency recommendations. The people who live in a town know who they like to work with!

Overall, we aim to align ourselves with the most creative, skilled, awesome people we can find. So in Denver, we work a lot with Spillt. In Salt Lake City, and now Portland, Oregon, we have a wonderful relationship with Nocturnal. The people helming BLK MKT in Austin have been our friends and collaborators for years.

As with any relationship, you just know when it feels right. The pieces fit, we complement each other’s ways of working, and it makes a partnership easy on us and beneficial for our clients. Currently we’re seeing more work in cities like Minneapolis, Nashville and Boston, so we are looking to make some solid connections in those cities.

Fueld provided turnkey services for Kellogg's Carpe Kashi.

Fueld provided turnkey services for Kellogg’s Carpe Kashi.

How do those relationships work?
We recognize the immediate desire in the advertising landscape for a “one-stop-shop,” but we want a Fueld Films turnkey experience to reflect the best resources we’re able to bring to the table. What we don’t want to do is answer this turnkey request by hiring a bunch of “everyman” types who are pretty good at a lot of things, but master of none, and bring the post in house. We are killer at production, but we are not set up to be a post house.

When a turnkey project comes our way, Fueld is the single point of contact for that job. That being said, we recognize that Fueld the hub of a many-spoked wheel! We assemble a strong, conceptually relevant production and post team and send a single, cumulative bid to the client. Then when we win the job, all the key players are involved from the onset. There are no surprises because we’ve all crafted the initial plan together.

The process runs smoothly because our Fueld line producer works hand-in-hand with our Fueld post producer in order to create a seamless experience from production through post. After we finish shooting, the post producer is the key liaison between Fueld, the post house, and the client. Depending on the scope of the creative, the post house either takes on the second half of the project doing what they do best, or we’ll work with them to use the staff that makes sense and bring in freelance talent where applicable to create more of a four-wall situation. When collaborating with trusted partners it’s a lot easier to check our egos, push our traditional roles to the side and find an answer that best suits the creative and all of our myriad skills.

At the end of the day, Fueld is ultimately responsible for the final product. There is no passing of the buck. We’ve built a lot of trust and longstanding relationships this way. Any way you look at it, this model benefits the client because they get a single point of contact without giving up their divine right to work with the best the industry has to offer at each stage of the creation process.

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You can follow Fueld on Twitter (@fueldfilms) and Facebook.

Charlotte-based Wondersmith adds senior producer Kimberly Abels

Veteran agency and creative producer Kimberly Abels has joined Charlotte, NC-based Wondersmith, a creative production company that offers animation, visual effects, editing and finishing, as senior producer.

For more than five years, Abels held the position of broadcast producer for Trone Brand Energy, where she has managed productions for the North Carolina Education Lottery and numerous national and regional accounts.

It was during this time she collaborated with, and impressed, Wondersmith founder/executive producer Joe Murray and creative director Thom Blackburn. They all worked together on the NC Lottery and Greenies, as well as a campaign for North State Communications.

Prior to joining Trone, Ables was senior producer for bicoastal production company Thornberg and Forester in New York for two years, and that position followed previous stints as a producer for Eyeball and J. Walter Thompson Worldwide, both also in NYC.

On joining Wondersmith, Abels says, “They have the perfect blend of organization and creativity. They always meet deadlines and budgets while pushing the creativity and upping the production value of work. For me, this is a great fit because it allows me to work in North Carolina while still producing work of the highest quality.”

‘Midnight Rider’ decision is important to post, too

By The Unknown Artist

A year ago, camera assistant Sarah Jones was killed and eight other crew members were injured while shooting the film Midnight Rider without a permit or appropriate safety measures… on live train tracks. According to subsequent investigations and reports, the production knowingly bypassed safety standards and legal OSHA requirements in order to save money. On March 10 of this year, director Randall Miller pled guilty to involuntary manslaughter and criminal trespass. Significant judicial punishment of Miller and executive producer Jay Sedrish set a precedent that I hope will resonate and produce a ripple effect throughout the production and Continue reading