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
Endless Noise And DJ Jason Bentley Join Forces On Remix For New Chevy Spot Press Release
Endless Noise recently collaborated with DJ Jason Bentley to create the music behind the new Chevy spot entitled "Art." The track is a remix of the Silversun Pickups song "Lazy Eye."
"Art" is a hi-tech trip down an assembly line operated by both man and robot. In a brilliant display of finesse and synchronicity, the robots weld and assemble with precision - not to mention install four tires faster than a NASCAR pit crew. The spot shifts gears, when the viewer is taken on a thrilling ride through the Chevy Malibu engine. Finally, at the end of the assembly line, a team of Chevy artisans puts final touches, inspect, and polish the car. The spot ends with the tagline, "An American Revolution."
The client commissioned Jason Bentley, a renowned DJ, film music supervisor and host of radio shows on LA stations KROQ and KCRW, to handle music supervision for the spot. Bentley found a remix he had done on a track, "Lazy Eye," by the Silversun Pickups, which complemented the idea of turning precision to art. The remix version provided the right energy, but needed to be refined to fit the picture.
"Music was an integral part to the success of this spot," says Mary Ellen Krawczyk and Linda Kemp, Campbell-Ewald Producers. "The postproduction is a long term project, and there were many adjustments made throughout. At first it was hard to nail down a track that satisfied everyone. We first listened to the original recording of the 'Lazy Eye' track, which we all liked, but the evolution of the sound wasn't where we needed it. Then we heard the remix done by Jason, and it had all the missing layers that were needed."
For Endless Noise, the spot was an opportunity to launch its relationship with Jason Bentley to the next level.
"We have been speaking with Jason about working together for some time," explains Jeff Elmassian, Endless Noise Creative Director. "This was the perfect opportunity to do so. Endless Noise provided Jason with the production and creative support needed to flesh out the remix. When working with an existing track, there is always a fine line between keeping the integrity of the original track and providing the picture with the energy and scoring that it needs."
This type of collaboration reinforces Endless Noise's philosophy of focusing on the composers and artists it represents. Partnering with Bentley on projects was a natural fit.
"His professionalism and ability to see beyond the picture to find the perfect pairing of music and visual art makes him a great music supervisor," concludes Elmassian. "In addition, in conjunction with Endless Noise, Jason has really been able to explore his abilities as a composer. Having the ability to write original compositions around existing tracks allows the music to work harder and tell more of a story. The collaboration process was really easy and effortless. The agency gave Jason and Endless Noise a lot of room to explore creative possibilities. The final track happened very organically."
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.
Agency: The Martin Agency
CD: Sean Riley
Art Director: Ty Harper
Copywriter: Raymond McKinney
Broadcast Producer: Brian Camp
AP: Katie Chirgotis
Prod Co: Stock Footage - Getty
Editorial/Post: Thoughtstream Media, VA
Editor: Scott Malkie
VFX: Superfad, NY
Music/Composer: Black Iris Music, VA
Audio Post/Sound Design: Rainmaker Studios, VA
Engineer: Jeff McManus
Mixer/Sound Designer: Mike O'Connor
Voiceover Talent: William H. Macy
Black Iris Sets The Tone For Al Gore's We Campaign
And The Alliance For Climate Protection Press Release
Black Iris, the bicoastal music collective of musicians working within the advertising and entertainment industry, sought to compose a driving, upbeat call to arms for the pressing We initiative established by The Alliance For Climate Protection organization (www.wecansolveit.org). The website was started in response to the world's growing climate crisis and addresses issues of change, solutions for progress, and showcases video spots that speak directly to our persevering spirits. Nobel Laureate and former Vice President Al Gore continues to passionately advocate for solutions to the climate crisis. The We campaign was created to help engage and activate the public on the issue, broadly shifting public opinion past a 'tipping point' and compelling our leaders to take the bold action needed to solve the crisis.
In Anthem, airing both on broadcast TV and the web, we are treated to the most recent attempt to shake the nation, and the Black Iris collective created the soundtrack that bolsters the powerful messaging and iconic visuals. Narrated by famed actor, William H. Macy, we are bombarded with an identifiable portrait of American history. The piece proudly proclaims that "we didn't wait to storm the beaches at Normandy, or wait for someone else to start the civil rights movement, or to put someone on the moon." Therefore, we as Americans cannot wait to step up to our responsibility to the planet and our very nature of survival. Black Iris was able to capture the moments of the spot with an inviting musical score that quietly speaks volumes, without feeling over-produced. The brilliantly simplistic tone of the whole piece beautifully mirrors the fact that the solution itself is one simple adjustment after another to our chaotic lifestyles. Black Iris brings us back to a more nostalgic era where we could take on any challenge and come out on top. Wecansolveit.org is making the same proclamation about our current capabilities, reminding us that change starts with everybody and it starts right now.
Production Company: The Orphanage
VFX Supervisor: Corey Rosen
VP/Executive Producer: Paul Grimshaw
VFX Producer: Lawson Owen
CG Supervisor: Nathan Fariss
Editorial: Rough House
Genndy Tartakovsky Reanimates The Brain For Arnold Worldwide NY Press Release
Multi award-winning animation director,
Genndy Tartakovsky, best known for Star Wars: Clone Wars, Dexter’s Lab and
Samurai Jack, directs two more animated spots for GlaxoSmithKline out of
Arnold Worldwide NY. After the critical success of last year’s animated
spot for Nicoderm, Arnold again chose The Orphanage and Genndy Tartakovsky
to conceptualize and carry out a new global campaign starting in three
English-speaking territories.
This new two spot campaign for the US, Australia and Great Britain combines
Genndy’s signature 2D style and adds 3D characters and environments with
cavernous backgrounds and innovative use of kinetic camera techniques. Both
spots will air Stateside early this spring.
Remarks Genndy: “I thoroughly enjoyed the creative process of
conceptualizing the way nicotine scientifically effects the brain. It was a
great to have the opportunity to further develop the characters that we
created in the first spot and it was also great fun to work in 2D again.”
Orphanage Commercial Productions Executive Producer, Paul Grimshaw adds: “It
is always rewarding to continue working with an original concept with the
same agency and client and watch the creative process taken to new heights.”
Inspired by the tagline “Tame the Beasts”, Tartakovsky’s direction of the
two :30 spots feature nicotine brain receptors represented as dozens of tiny
monsters that live inside a smoker’s brain who control human behavior,
starved of nicotine they furiously rebel, but when the nicotine product is
administered they become happy and tranquil. The product appears, sending
out calming beams of light which put the receptors at ease.
The GlaxoSmithKline nicotine product is known as Nicoderm and Commit in the
US, as Niquitin in the UK and as Nicabate in Australia. The 3D character
animation for the spot was created under VFX Supervisor of Corey Rosen and
Animation Supervisor Nathan Fariss also of The Orphanage.
Animation fan and Arnold Executive Producer, Eric Herrmann raves: “The idea
of a brain filled with monsters directing your desires was so successful
worldwide, we couldn’t wait to bring the campaign back to Genndy and The
Orphanage and have them run with it. I am convinced these spots will be
even more popular.”
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
Asylum Cushions the Fall for Snapple Press Release
Asylum creates the wondrous protected world for director Daniel Benmayor of Anonymous Content and Snapple's Antioxidant Water. A young man walks out of a bodega and slowly savors the first refreshing sip of the new, better for you, beverage. His world is suddenly transformed into a safe haven. Underfoot appears sidewalks and streets made of bubble wrap where the buildings are sheathed with layers of plastic sheeting. Even a vicious dog becomes harmless as he is swaddled in a blanket of plastic wrap.
While the foreground objects and talent were wrapped in real plastic, we enhanced the mid and background bubble world by wrapping buildings, traffic lights, streets and sidewalks in bubble wrap through a series of matte paintings and composites of photographic plates.
CREDITS
Agency: Team One, Los Angeles
ECD - Chris Graves
GCD(s) - Gavin Lester, Jon Pearce
EP - Jack Epsteen
AP - Erin Finch
Production Co - MJZ
Director - Dante Ariola
DP - Toby Irwin
Editorial - Rock Paper Scissors
Editor - Andrea MacArthur
VFX Co - A52
VFX Supervisor - Patrick Murphy
Music Co - HUM
Composer - Chris Brady
Team One Puts the 'H' in Hybrid for Lexus Press Release
Team One Los Angeles recently finished a powerful and innovative campaign for Lexus Hybrids that examines what the world would be like without the letter 'h'. The :60 spot directed by MJZ's Dante Ariola takes us through a series of humorous and visually vexing scenes looking at what major landmarks, news stories, classrooms, and typical office environments would look like if all the h's were mysteriously missing. We see Los Angeles' 'OLLYWOOD' sign, outdoor signage for a local 'otel,' and the naked keyboard button one spot removed from our left index finger's starting perch. In the story, the h's have abandoned our society after simply finding a better place to live-on the back of Lexus' lines of hybrid cars. Naturally, these h's deserted their previous posts in favor of zipping around town on the rear badging of an environmentally-friendly luxury Lexus vehicle.
The Power of h campaign showcases Lexus' three hybrid vehicles-the RX 400h, GS 450h, and LS 600h-which have been on the road since 2004. Jon Pearce, Team One's Group Creative Director for the campaign notes, "Lexus has been at the forefront of alternative power train solutions for a long time, but the awareness of their line of hybrids has been relatively low. The focus of this campaign was to build this awareness, to bridge the informational gap between the luxury of Lexus and the advanced technology of these three hybrid vehicles, which offer a 70% reduction in emissions. We also wanted to deliver that message in a really new and entertaining way-creating something that would make car buyers stop, notice, laugh, and think." The campaign takes a different approach to showcase the uniqueness of the Lexus hybrids, highlighting the fact that these are technologically-advanced luxury hybrid vehicles. The spot also adds a touch of realism and pop culture by featuring actual brands such as Yahoo!, the Wheel of Fortune, and Hollywood's walk of fame and landmark sign to add credibility to the storylines. The multi-platform campaign debuts this week, with the Missing h spots running on network, cable and cable sports networks through April in conjunction with a fully-integrated online, print, and out-of-home campaign.
Gavin Lester, also a GCD on the project, comments on the creative process, "We wanted to set the stage with each scene, showing the viewer typical situations that we take for granted, yet with one thing missing that throws off the entire picture. With each storyline, the viewer would ponder what was going on with the h's. As the scenes unfold, they see that the spot's unlikely principals had moved to a better place-a place that looks forward and believes in positive change. There really is no better place for an 'h' to be." The Power of h campaign is the latest in a long line of award-winning, highly-successful spots that Team One has created for Lexus. Memorable campaigns surrounding Lexus' pursuit of perfection have helped propel Lexus into the top-selling luxury car brand in the United States for each of the last eight years. Team One's broadcast and print work for the national campaign also drive consumers to a microsite (www.thepowerofh.com) where they can find additional information on the Lexus hybrid vehicles, as well as details and tips on incorporating a more hybrid lifestyle. As a core part of Lexus' hybrid-awareness campaign, the 'h' character is showcased on the site and will be built upon and further brought to life as the campaign unfolds.
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
Eyeball Givews Animal Planet a MakeOver Press Release
Animal Planet has given itself a makeover. With the launch of a new logo and overall tone, the channel is heading towards an overhaul of its on-air graphics and network promotions. EyeballNYC teamed up with creative agency Mono and Photographer Jill Greenberg to add a little flare to the channel's rebrand.
"We've always been great fans of Jill's photography. It was an honor to work with her," says Eyeball creative director Limore Shur. "In a medium that constantly tries to pack in as much moving content as possible, it was nice to take a step back and allow the still photography to lead."
Animal Planet and Mono wanted to personify each animal by assigning them with a one word description. The Meerkat became 'THE LONER' while the Chimp became 'THE COMIC'. While these terms may seem naturally fitting, Eyeball took on the task of putting together an edit that strengthened these personifications to the point where the viewer would immediately make the connection.
Shur states,"The selection of the photographs, the sequence in which they appear, the scale in relation to the viewer, the placement of the animal on the screen, and finally the subtle facial animations all come in to play when attempting to create a persona for these animals. They were all essential to pulling as much character out of the photographs as we could."
Eyeball took on the task of splitting the photographs into features and animating subtle movements. By placing these features in 3d they were able to create a greater sense of space and time, expanding on the 'frozen moment' to deliver a performance as if for a brief moment each animal actually struck an intentional pose. Posing or not, it's clear that these characters will make an impact as the new face of Animal Planet.
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: Chevy "Art""
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
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