Tag Archives: commericals

Danielle Katvan joins 1stAveMachine’s directorial roster

Film and commercial director Danielle Katvan has joined the roster at Brooklyn-based production company 1stAveMachine. Her work includes the Clio-winning spot for Vogue and Free People, as well as commercials for The Venetian Resort Las Vegas and Service Now’s The Future of Work. Her short film, The Foster Portfolio, premiered at the 2017 Tribeca Film Festival.

Katvan grew up in her parents photography studio in New York City, so she was exposed to the art of storytelling from a young age. She began by taking 35mm photographs, developing the film in their home’s darkroom. This fascination evolved into an interest in moving images, and she bought her first video camera at age 12.

Katvan’s style includes adding offbeat humor into highly stylized, cinematic worlds. “It’s like our world, but with the volume turned up a bit,” she explains. “The beauty of filmmaking is that you can escape to another place but still feel emotionally connected to what you’re watching – and good performances are such a huge part of making that connection.”

“We have been big fans of Danielle’s work for some time. Her eye for authentic performances and beautiful cinematography, set against thoughtful art direction, have made for some incredibly compelling films,” says Sam Penfield, a partner at 1stAveMachine.

Behind the Title: Exile Editor Kyle Brown

With recent spot work that includes jobs for Comcast, AT&T, T-Mobile and Trojan, this editor jokes, “A good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.”

Name: Kyle Brown

Company: New York- and Santa Monica-based Exile

Can you describe your company?
Exile is a bicoastal editorial and finishing boutique with spaces on both coasts.

What’s your job title?
Offline editor, with a splash of camp counselor.

What does that entail? 
As an offline editor, I take the footage that was shot and assemble it based on the script and creative vision honed on set, adding in tone and texture, rhythm and pacing. Basically, editors are given all the raw material that has been created and we turn it into a visual experience.

What’s great about editorial is you have to be honest — the footage is shot, you have what you have and nothing more, and now you have to take what’s there and stitch it together. If something does not work, you move on and make something else work. You can’t hide in the edit. You can’t say we will fix it in post. You are post! It’s the finish line, and all the preparation and hard work on the front end pays off in the edit bay. It has to.

Kyle Brown cut this Bud Light spot.

What would surprise people the most about what falls under that title?
Editor can be a catch-all title — we cut music, add sound effects, edit story and script. We do rough effects, we scratch voiceover and build title lock-ups. It really feels like DIY filmmaking at times, when you’re adding lines or building some crazy comp of two scenes to get the desired reaction or pause.

What’s your favorite part of the job?
Problem solving, seeing an edit work and happy accidents. I still get a kick out of an edit working, feeling a joke land or a punch connect. To be a part of movie magic is still a dream come true. I like to rough cut with my gut. I slam things together to have something to react to, and sometimes the best happy accidents come from that. I also enjoy all of the creative challenges that I’m faced with. A client might have a note that seems like a far-out ask, but the answer is always there. Edits can be a puzzle, and I like that.

What’s your least favorite?
This answer, I’m sure will not be popular… but watching dailies. I watch every frame, I swear. Part of my job is knowing all that is there and being able to recall and find it quickly. But nine times out of 10, when I’m watching dailies I have to take a break halfway through and edit a sequence or scene. It’s hard to see something you get excited by and not just start cutting it. Dailies look different after you have done a rough cut; they mean different things and usually give better solutions. So a lot of times, I cut, then I go back and review.

If you didn’t have this job, what would you be doing instead?
Double agent. Ok, I’m not that cool. Let’s say, schoolteacher.

Why did you choose this profession?
I think I love editing because I did not choose it. I actually stumbled into it. I’ve learned so much through it, as cheesy as it sounds. It’s helped me grow and achieve my goals, not only in work but in life, and it still does. I think is crazy and exciting that I do it for a living. Through necessity and curiosity, something that I fell into — without ever going through the traditional route of assistant editor — has given me a career that allows me to scratch my creative itch. I’m very lucky.

Trojan

Can you name some recent projects you have worked on?
Lately, I’ve mostly been doing commercials: spots for Comcast, AT&T, T-Mobile and Trojan. So, basically, a good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.

You have worked on all sorts of projects. Do you put on a different hat when cutting for a specific genre?
I have been lucky enough to have worked in a wide variety of genres — from comedy to docs to music videos — but I try to tackle all storytelling the same way: I work around a key moment or idea and fill in the blanks on how to get there. The best example I can use is music videos. I like to find that great part of the track, cut the visual to it, then work backwards to get to that point. This allows me to use each edit to get to the intent of that key moment. The same can be said for a good physical gag or joke. Getting that moment to land, then using what’s around it to make it work harder.

What do you use to edit?
I was a diehard Final Cut Pro guy, but then when the bottom fell out, so I switched to Avid Media Composer for the challenge. I also use Adobe Premiere, on occasion. Over the years, I’ve found that whatever I’m fastest on, meaning getting my thoughts to the screen quickest, is what works best for me. I am sure a new workflow or program will come along, and I make sure that I’m always able to adapt.

You mentioned earlier, that sometimes you provide more than just the cut. Can you talk about that?
I’ve rewritten scripts, done some finishing work, done After Effects work, been the VO artist and, sometimes, I even act as the account person to help sell something through to a client. Of course, there are people that do all these things professionally and are experts at their job, but I feel like in an edit bay we’re all there together trying to hit the deadlines with the best piece in hand, and that means we all dive in. No one can be precious about their roles; we have to be precious about our goals.

Name three pieces of technology you can’t live without.
Copy and paste (seriously whoever invented that is a god), Spell Check and coffee makers.

What do you do to de-stress from it all?
Cook. I can’t think of editing when I’m burning stuff.

Megatrax offers new music catalog for TV shows and spots

Megatrax Production Music’s new original music catalog, Track Distillery, offers a variety of genres with musical elements designed for underscore and background in TV shows and commercials.

Each 2:00 cue has edit points at :60, :30, :15… all the way to :05. Track Distillery tracks come with a full mix and a stem for every musical element within each cue, ready to remix, rearrange, or take back to basics.

Producer Derek Jones says, “Track Distillery responds quickly to trends, requests and changes within the industry.  As one example, we have a full album of Nortec. Nortec is an emerging style of hard techno that fuses elements of Norteño, Tambora and Banda, and we have 12 full tracks (63 total tracks) of it out before the trend has peaked.”

Track Distillery offers “stripped down” productions, for use in reality TV show underscore and TV commercials. All of the music in Track Distillery is designed with builds, stops, breaks and sting endings. None of the tracks feature melodies or melodic instruments; all the cues are designed as beds to support scenes instead of overwhelming them. The catalog features music from veteran and emerging composers, including Peter Bateman, Sunna Wehrmeijer, Eddie Wohl, Mike Plas, Ivan Virijevic, Michael “Nomad” Ripoll and David Sparkman, among others.

“Every album in Track Distillery has 12 cues,” says Jones. “All of them are in the same genre and the same specific direction. They vary in tempo, key and musical composition, but the palette of sounds within an album are the same because I am purposefully limiting the composers to using only the core musical elements specific to the style they are writing. The concept is, if you love one track but it doesn’t quite work for your spot, you’ll have 11 others on that album with that same sound and style to choose from.”

Track Distillery is available now and features 30 albums and a total of 1,524 tracks.

Bonfire Labs adds two veteran producers

San Francisco — Bonfire Labs has beefed up its staff with the addition of veteran producers Stephanie Hornish and Mona Salma. Hornish as senior producer and Salma as producer.

Combined, the two bring almost 30 years of experience to Bonfire’s production team.

stephanie_hornish

Stephanie Hornish

Hornish has an extensive background in film, television, animation and visual effects. She began her career at the Colossal Pictures as an Art Dept. assistant, where she worked in live-action production, cel, stop motion and CG animation. In 1999 she moved to Industrial Light & Magic, where for the next 12 years she produced VFX for films, including Harry Potter, The Chronicles of Narnia, and Indiana Jones (The Kingdom of the Crystal Skull I). After a brief hiatus, Hornish returns to the production world and will be producing projects for all screens at Bonfire Labs (www.bonfirelabs.com).

Salma began her career at MacKenzie Cutler, a boutique editorial house in New York, as an editorial assistant in 2000 and quickly developed a love for the editorial process. Her years at MacKenzie Cutler schooled her on the world of advertising, and she has applied her skills on numerous award-winning advertisements and Super Bowl spots. In 2011, she moved back to San Francisco, her hometown, and worked in a freelance producer role for Cut + Run SF and Venables Bell & Partners before landing at Bonfire Labs.