Credits
Title: Galp
Product: ‘Autocarro’ (Bus)
Agency: BBDO Portugal
Agency Producer: Alexandra Francisco
Production Company: Ministério Dos Filmes
Director: José 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 Ministério 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. Ministério 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
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 André 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)
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 Jörg Häberle 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: 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
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
Benay¹s Bird & Animals
Lemur: Benay Karp
First Assistant: Jon ³Brooklin² 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
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
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
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
Telecine: Company 3
Colorist: Stefan Sonnenfeld
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
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
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
Comments (7) for "Top Spot of the Week: Galp "Autocarro""
1.
for the snapple commercial, do you have any idea who did the song in it?
Posted by linsey on Wednesday, March 26, 2008 @ 04:25 PM
2.
Why is it that there is no information about the song and artist ANYWHERE on the internet? There are plenty of people wondering it seems... any info?
Posted by Carissa on Thursday, March 27, 2008 @ 09:55 PM
3.
I am a freelance agency producer working with both boutique and large sized agencies out of Montreal and Toronto. A collegue sent the link to me this morning....I can\'t believe I haven\'t been on it prior to today....
Cheers!
Nadine
Cheers!
Nadine
Posted by nadine gray on Friday, March 28, 2008 @ 09:31 AM
4.
Does anyone know the song thats played on the snapple antioxidant commercial ??? It's driving me insane!
Posted by ashley on Saturday, March 29, 2008 @ 12:06 AM
5.
I'm awesome and I like that snapple song. Therefore I must have it.
Posted by Paul Berti on Thursday, April 3, 2008 @ 10:31 PM
6.
I wana learn to make videos like this here, theyr awsome, recommend me some movie making programs? Im making and editing movies right now with windows movie maker :( ,but i wish to have some cooler program cause im really fan of making movies !
Posted by Janix on Tuesday, April 22, 2008 @ 04:31 AM
7.
Janix: If you want to make a movie like this I suggest you start saving up some money to buy a good camera, blue screens and several of software such as maya, cinema 4d, Adobe Suite CS3 with After Effects and maybe Autodesk, maybe a total cost of at least 1 million USD. A cheaper suggestion is to take a course or study to become a 3d animator, motion graphic designer or get a degree in media. Then you can make movies like these, or at least something similar :)
kind regards.
Andreas
current. in Japan on an internship @ w0w.
check us out @ www.w0w.co.jp
Posted by Andreas on Thursday, April 24, 2008 @ 06:26 AM
Comments (7) for "Top Spot of the Week: Galp "Autocarro""
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