The artists and producers from visual effects studio Brewster Parsons are very proud to detail their contributions to a sensational Acura ad from advertising agency rp& and Paranoid U.S. director Thierry Poiraud. The clever and explosive Acura RDX “Re-Re-Routed” spot – a promotional tie-in with the current box-office champion “Marvel’s The Avengers” from director Joss Whedon – debuted on May 4 across America. nn
nView the spot online here.nnThe action begins with an Acura RDX driving into a disastrous city scene littered with flaming wreckage. Inside the vehicle, the onboard navigation system instructs the driver to “Turn left at flying car,” which the male driver does. The next instruction tells the driver to “Turn right at explosion,” and then, “Stay left at lightning bolt,” feats he performs as his female passenger gasps in horror and vehicles explode around them. At last, when the vehicle approaches one of the blockbuster movie’s giant leviathans, the navigator instructs “U-turn. U-turn,” and the driver maneuvers on through the city. “Introducing the entirely new RDX from Acura,” states the voiceover announcer; “The official vehicle of ‘Marvel’s The Avengers.'”nn”We were fortunate to work with some exceptional people throughout this project – and the team from Brewster Parsons was a big component right from the get-go,” said Paranoid U.S. executive producer Jamie Miller. “With the aid of a truly astounding previs, they were able to quickly offer us a shoot solution that allowed maximum flexibility on location. We were then able to move into production fully confident that our footage would blend with key plates from the actual film.”nnAccording to Brewster Parsons VFX supervisor Andrew Eksner, he and his colleagues were immediately onboard with the agency’s and director’s preferences for shooting the Acura RDX on-location and working within a practical, non-CG workflow. “This approach was strongly preferred by the agency and their clients, and we agree that it offers a lot of benefits,” he said. “Of course, everything has to be planned very well, but when it is, everyone gets to see the results they’re seeking right on the set. Plus we all had a chance to do an exciting shoot in downtown LA.”nnOne very significant project component that did employ CG was the spot’s previs, which was created by HALON Entertainment. To bring that previs to life, Eksner and his colleagues including renowned VFX artists Simon Brewster and Simon Scott worked with two kinds of shots. The first were plates from the Marvel’s The Avengers, and the second were original shots directed by Poiraud, director of photography Tim Hudson and their crew during their two-day shoot in downtown LA.nnThe plates from the movie were carefully selected by Poiraud to fit his storytelling needs for the commercial. “A big problem in reviewing the footage provided was finding scenes that had room to put a car in there,” Eksner said, giving Poiraud full credit for selecting great shots. “Our most challenging shot from the movie is the wider overhead shot where the car is driving into fire; in the original scene, the whole left area was wreckage and debris, which I cleaned up in Flame. We also used some of the movie’s plates that were shot on green screen, like the element of the vehicle falling from the sky.” For those scenes, the VFX artists performed clean-up and composited in their new footage of the Acura RDX along with other blending elements like debris, matching the perspective and lens from the movie’s cinematography. nnFor their original scenes, shot on a set designed to match the movie, the filmmakers added wreckage and debris on the street and shot the Acura driving through those obstacles with some pyrotechnics. Finishing touches included adding more photographic fire elements, as well as final color passes to ensure everything matched the movie’s vibrancy.nnBetween Poiraud’s live-action shoot on February 11 and 12 and the debut of “Re-Re-Routed” on April 16, the work between Poiraud, Arcade Edit editor Stewart Reeves and Brewster Parsons’ artists occurred around-the-clock. “Basically, the reason it came together so well was planning,” Eksner concluded. “I’m very glad we got on this early and were able to handle the project the way we did. The practical process is much better for many reasons, and to me, it’s much more like a true creative collaboration.”nnStanding behind this spot for rp& are executive VP, executive creative director John Hage, VP, head of art Phillip Squier, senior copywriter Jimbo Embry, senior art director Josh Gilman, VP, executive producer Jack Epsteen and senior producer Erin Finch. Along with Thierry Poiraud, Tim Hudson and Jamie Miller, the team from Paranoid U.S. also included executive producer Claude Letessier, producer Lisa Cowan, production designer Jennifer Williams and art director Gabriel Abraham. Georgina Poushkine produced for Brewster Parsons, where Darcy Parsons is executive producer. Complete spot credits are available upon request.nnFor more information on the Acura RDX, please visit www.acura.com, and to learn more about “Marvel’s The Avengers,” please visit www.marvel.com/avengers_movie.nnAbout Marvel’s The AvengersnMarvel Studios presents “Marvel’s The Avengers”—the team up of a lifetime, featuring iconic Marvel Super Heroes Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow. When an unexpected enemy emerges that threatens global safety and security, Nick Fury, Director of the international peacekeeping agency known as S.H.I.E.L.D., finds himself in need of a team to pull the world back from the brink of disaster. Spanning the globe, a daring recruitment effort begins. nnStarring Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner and Tom Hiddleston, with Stellan Skarsgard and Samuel L. Jackson as Nick Fury, directed by Joss Whedon, from a story by Zak Penn and Joss Whedon with screenplay by Joss Whedon, “Marvel’s The Avengers” is based on the ever-popular Marvel comic book series “The Avengers,” first published in 1963 and a comics institution ever since. Prepare yourself for an exciting event movie, packed with action and spectacular special effects, now that “Marvel’s The Avengers” have assembled.nn”Marvel’s The Avengers” is presented by Marvel Studios in association with Paramount Pictures. The film is being produced by Marvel Studios’ President Kevin Feige and executive produced by Alan Fine, Jon Favreau, Stan Lee, Louis D’Esposito, Patricia Whitcher, Victoria Alonso and Jeremy Latcham. Distributed by Walt Disney Studios Motion Pictures, the film opened May 4, 2012, crushing U.S. box-office records, earning an amazing $207.4MM within the first 3 days.nnAbout Marvel EntertainmentnMarvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of over 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information visit www.marvel.com. nnAbout Brewster ParsonsnBrewster Parsons is an A-level visual effects studio specializing in photoreal imagery, extraordinary color and brilliant design solutions. Established in Venice, California, in 2007 by Darcy Parsons and award-winning VFX supervisor Simon Brewster, the artists and producers of Brewster Parson collaborate with leading directors and creatives to produce stunning visual content for all media platforms. For more information, please call 1.310.736.1663 or visit www.brewsterparsons.com.
Contact:
Darcy Leslie Parsons Brewster Parsons Phone: 1.310.736.1663 Contact Darcy via email
NYF Advertising Awards Open for Entries: Grey New York and New York Festivals Launch ‘No BS Allowed’ Campaign and Plant Seeds of Growth
New York Festivals Advertising Awards 2025 Call for Entry Campaign.
The New York Festivals Advertising Awards is now officially open for entries for the 2025 competition. Grey New York has teamed up with New York Festivals Advertising Awards to unveil a bold new creative campaign, titled “No BS Allowed,” for the show’s 2025 awards season. The campaign serves as a call for entries, challenging the advertising industry to reject superficiality and focus on creating work that truly matters. The New York Festivals Advertising Awards, known for celebrating the world’s most innovative and impactful advertising, is taking a hard stance against the industry’s reliance on inflated metrics, fabricated buzz, and empty results. In this provocative campaign, these industry conventions are reimagined as something more tangible and valuable: fertilizer for growth. Thiago Cruz, Chief Creative Officer at Grey New York. “New York is famously known for not putting up with BS, so we’re ensuring our festival stands for that too. We’re looking for work that truly drives both cultural and business value for clients.” The campaign humorously relabels case studies' so-called "BS" with sharp accuracy, exposing the elements that undermine true creativity:
- Made-up tweets
- Inflated number of impressions
- Lots and lots of positive sentiment
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