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    SPECIAL REPORT: MUSIC & SOUND DESIGN_ SHOOT’s Top 10 Spot Tracks

    By SHOOT StaffUpdated:No Comments1510 Views
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    1. TITLE: Nike "Move"

    MUSIC/SOUND: Elias Arts, bicoastal. Jonathan Elias, creative director/composer; Ryan Rehm, composer; David Gold, creative director; Dayna Turcotte, producer. Endless Noise, Los Angeles. Jeff Elmassian, sound designer; Kacy Palmieri, producer

    AGENCY: Wieden+Kennedy, Portland, Ore.

    PRODUCTION: RSA USA, bicoastal. Jake Scott, director

    2. TITLE: Miller Lite "Weary Traveler"

    MUSIC/SOUND: Snyder Music, New York. Craig Snyder, composer/producer. HSR Studios, New York. Jun Mizumachi, sound designer. (Mizumachi is now with Tonic, New York.)

    AGENCY: Ogilvy & Mather, New York. Karl Westman, music producer.

    PRODUCTION: Tool of North America, bicoastal. Erich Joiner, director.

    3. TITLE: Volkswagen "DNA"

    MUSIC/SOUND: Music For Picture, New York. Chris Dyas and Peter DuCharme, composers; Ben Davis, producer.

    AGENCY: Arnold Worldwide, Boston

    PRODUCTION: PSYOP, New York. PSYOP creative collective

    4. TITLE: Nike Golf "Dog Gone," Endless Noise, Los Angeles

    MUSIC/SOUND: Endless Noise, Los Angeles. Jeff Elmassian, composer; Andy Rehfeldt and Nate Jenkins, sound designers; Kacy Palmieri, producer.

    AGENCY: Wieden+Kennedy, Portland, Ore.

    PRODUCTION: Biscuit Filmworks, Los Angeles. Noam Murro, director

    5. TITLE: AT&T Wireless "Belly Button"

    MUSIC/SOUND: Amber Music, New York and London. Mike Hewer, composer; Michelle Curran, managing director/partner

    AGENCY: Ogilvy & Mather, New York. Karl Westman, music producer

    PRODUCTION: RSA USA, bicoastal. Laurence Dunmore, director

    6. TITLE: Mercedes-Benz C-Class "Reincarnation"

    MUSIC/SOUND: Human, New York. Morgan Visconti, composer/sound designer; Marc Altshuler, executive producer

    AGENCY: Merkley Newman Harty & Partners, New York

    PRODUCTION: Go Film, bicoastal. rad-ish, director

    7. TITLE: Amtrak Acela "Amenities"

    MUSIC/SOUND: Face The Music, bicoastal. Paul Robb, creative director/composer; Adam Joseph and Birgit Roberts, executive producers.

    AGENCY: E. James White Communications, Herndon, VA

    PRODUCTION: Flying Tiger Films, bicoastal. Henrik Hansen, director

    8. TITLE: Acura TL Type S "Snowbirds"

    MUSIC/SOUND: Tonefarmer, New York. Raymond Loewy, composer; Ben Wise, mix engineer

    AGENCY: Rubin Postaer & Associates, Santa Monica

    PRODUCTION: Serious Pictures, London. Michael Haussman, director

    9. TITLE: New Balance "Thunderstorm"

    MUSIC/SOUND: Marshall Grupp Sound Design, New York. Marshall Grupp, sound designer; April Jaffe, executive producer

    AGENCY: Messner Vetere Berger McNamee Schmetterer/Euro RSCG, New York

    PRODUCTION: Headquarters, bicoastal. Agust Baldersson, director

    10. TITLE: Dr Pepper "Mark McGrath"

    MUSIC/SOUND: Crushing Music, New York. Joey Levine, Jeff Southworthy[KW1], composers; Ralph Sall, freelance record producer

    AGENCY: Young & Rubicam, New York. Josh Rabinowitz, music producer

    PRODUCTION: HSI Productions, bicoastal. Paul Hunter, director

    Category:News



    AICP’s Matt Miller Looks To Build Support For Production In L.A. After Devastating Wildfires

    Friday, January 17, 2025

    Editor’s note: AICP president and CEO Matt Miller issued the following statement addressing the wildfires in Los Angeles and how the industry can help this key production market--a hub of major resources essential to the health of the overall commercialmaking industry:

    Who Needs Los Angeles? We Do.
    By Matt Miller, AICP president and CEO

    One doesn’t have to be a statistician to know that there are fewer commercials being shot in the U.S. today for the American market than ever before, and a dramatic decrease in L.A. in particular. In the last five years, as reported by FilmLA (the office tasked with issuing permits), L.A. commercial production has dipped 31 percent.

    But here’s the thing: This doesn’t mean that L.A. has lost its importance as the production center of the world. Production in L.A. is vital. It is the go-to. It’s where you can count on access to exemplary crews, a support infrastructure second to none, varied location and backlot options, a large population of on-screen talent and (fairly) predictable weather.

    The fact is, with overall decline and now the devastation of the fires, we’re on the brink of losing this mainstay resource. Without employment opportunities and now many without homes, talented and trained crew are bound to leave either the industry or the L.A. area for other opportunities, unless there are enough job opportunities to sustain a solid living.

    Now is the time when we ALL must support and bolster this community.

    Production is needed in L.A., now!

    Of course, advertising is a business, and marketers’ money should be spent as efficiently as possible, BUT we have to think beyond each production and know that if we lose the... Read More

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