What began as a single spot assignment expanded not only into a multiple platform project but a multiple screen adventure for editor Eric Argiro of bicoastal Union Editorial, whose work for Covergirl and GREY Advertising is currently running on the American Eagle building in Times Square and at LA Live. Argiro cut the initial commercial, a :30 beauty spot cross-promoting THE HUNGER GAMES: CATCHING FIRE that premiered on the MTV VMA’s. That was followed by a theatrical version to run in theaters during showings of the highly anticipated second film of the HUNGER GAMES franchise. Argiro next devised an editorial plan for a host of additional elements that had to be incorporated into separate pieces for Times Square and LA Live. Those installations went live November 1. The projects were directed by Daniel Jackson of The Bees and Honey.nn”It was a lot of fun to push ourselves to think out of the 16×9 box and I’m grateful that GREY gave me the opportunity,” said Argiro. “As a native New Yorker, the chance to see my work up on the big screens in Times Square really has special meaning for me.” For both Times Square and LA Live, Argiro relished the challenge of bringing another dimension of editing into play in terms of concept as well as movement and composition. “Conceptually, we wanted to feature different ‘district looks’ throughout the piece,” he explained. “We wanted them to have a cohesion and not just come up randomly with no story.” The challenge was to have the elements be aesthetically pleasing independently and in concert. The undertaking is something Union Partner/Executive Producer Caryn Maclean described as “a feat of choreography and timing”.n nBoth the Times Square and LA Live installations presented new and unique technical challenges for Argiro and After Effects artist Chris Bialkowski. “We had to think of LA Live as an installation/interactive piece,” Argiro said. “Using 3D models, we took into account the spatial area that the viewer is in. With well over two dozen screens of different shapes and sizes throughout the LA Live area, we needed to set a mood and create a feeling of harmony.” For Times Square, the team plugged edits into their 3D models. This helped not only the editor but the client, allowing them to visualize the end product. To accommodate the unique screen shapes of both buildings, Argiro and Bialkowski created the project in Avid, constructing the edits from mattes and models, timing the sequences before bringing them into After Effects.n nOf the final results, now being seen onsite by thousands daily, Argiro concluded, “My parents are MUCH more impressed with seeing something I’ve made in Times Square than all the national commercials I’ve worked on combined. I think maybe I am, too.” nn Caryn Maclean
Partner/Executive Producer
Union Editorial
Contact Caryn via email
212-863-3030 Media:
Hesh Rephun
Contact Hesh via email 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 LA 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 incredible resource of L.A. production as we know it, then marketers, agencies and the industry loses in the long run.
Over the past several days, some agencies have issued directives to production companies that are unilaterally pushing upcoming production options out of L.A. The fact is L.A. is a large area, and many sections of the city and county are not directly impacted... Read More
n nProject CreditsnClient: P & GnBrand: CovergirlnnAgency: GREYnExecutive Creative Director: Mark FinanExecutive Creative Director: Alice EricssonnArt Director: Lindsey KatonnCopywriter: Nicole HandlernExecutive Producer: Stacy TowlenProducer: Jimmy WadenSVP Account Director: Seema PatelnVP Account Director: Ernesto JamesnAccount Supervisor: Lindsey KantariannAccount Executive: Courtney CorneliusnnProduction Co: The Bees and HoneynDirector: Daniel JacksonnnPost Production: Union EditorialnEditor: Eric ArgironExecutive Producer: Caryn MacleannProducer: Susan MotamednAfter Effects: Chris Bialkowski nnBeauty Clean Up & Typography: Box StudiosnnAbout
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