Lowe & Partners/SMS, Director Frank Todaro Serve A :30 To The U.S. Open Sponsor.
CLIENT
Heineken USA.
PRODUCTION CO.
radical.media, bicoastal/international. Frank Todaro, director; Joe DeSalvo, DP; Jon Kamen and Robert Fernandez, executive producers; Gregg Carlesimo, producer. Shot on location.
AGENCY
Lowe & Partners/SMS, New York. Marvin Sloves, chairman; Lee Garfinkel, chairman/chief creative officer; Gary Goldsmith, vice chairman/executive creative director; Bob Nelson, executive VP/director of broadcast production/producer; C.J. Waldman, executive VP/creative group head/art director; Todd Godwin, executive VP/creative group head/copywriter; Chris Brignola, art director.
EDITORIAL
MacKenzie Cutler, New York. Ian MacKenzie and Eric Pomert, editors. Jane Keller, assistant editor; Vicki Koppel, producer.
POST
SMA Video, New York. Billy Gabor, colorist; Jimmy Hayhow, online editor.
AUDIO POST
Photomag Sound Studios, New York. Chris Drozdowski, mixer.
SOUND DESIGN
MacKenzie Cutler. Chuck Smith, sound designer.
BY CAROLYN GIARDINA
U.S. Open sponsor Heineken’s newest :30, "Ball Boys," opens in a bar with an establishing shot of a man pouring a Heineken beer from a bottle into a glass. After putting the bottle down on the table, it disappears in a sudden blur. Throughout the bar, several more bottles vanish the same way while patrons continue their conversations unaffected. As the spot progresses, it turns out that the waiters are dressed as tennis ball boys, gathering the empties with the vigor of true U.S. Open pros. After each pass through the bar, the waiters crouch down on one knee, waiting to retrieve the next empty bottle. The spot, created by New York-based Lowe & Partners/ SMS and directed by bicoastal/ international radical.media’s Frank Todaro, debuted last week during the U.S. Tennis Association event.
Lowe & Partners executive VP/head of broadcast production Bob Nelson, who produced the spot, commented that most sports-related spots feature athletes in action. He said the creative team wanted to "in a way, cut through hyper-sports spots."
Executive VP/creative group head Todd Godwin, the ad’s copywriter, explained the approach: "Our method was to interject the ball boys into a bar scene … putting the ball boys where they don’t belong."
"Ball Boys" was shot in one day on location at Boxers in New York’s Greenwich Village. "The idea was to play it straight and real, not force it," Todaro explained. "It’s so absurd. … Anything but playing it real would hurt the joke."
Nelson noted that Todaro was selected to direct the spots for numerous reasons, including his sense of humor and knowledge of sports. Todaro actually worked with the team on the concept during development. Lowe & Partners executive VP/group creative head C.J. Waldman (who art directed the spot with Lowe art director Chris Brignola) said Todaro "helped make the idea better." Godwin added that Todaro "wanted to work with us. He wanted to develop a relationship with us."
The spot was cut by partner/editor Ian MacKenzie and editor Eric Pomert of MacKenzie Cutler, New York. "People don’t know what’s coming," noted MacKenzie. "They are surprised by the ending. The goal was not to spoil it. Try to maintain the suspense."
MacKenzie Cutler sound designer Chuck Smith’s work on the project was also singled out. Nelson said that it created an "audio point of view. … It ultimately established the ball boys." The ball boys’ passes were represented by a whooshing sound and squeaking sneakers. Blowing into an empty bottle and enhancing the sound using AudioVision, Smith said, created the "whoosh." MacKenzie commented that the sound "really brought it all together."
"It was a great spot to work on because everyone had input," Smith noted. "It was the epitome of teamwork and creativity from all sides."
Nelson complimented the clients, noting, "It would have been so tempting to do a tennis spot. I think it is great … an understated recognition."
***
Editing Concepts
Rocks With Citibank
CLIENT
Citibank Visa.
PRODUCTION CO.
Backyard Productions, Chicago. Rob Pritts, director; Barry Peterson, DP; Blair Stribley, executive producer; Kris Mathur, producer. Elton John footage by Venus Entertainment, Venice, Calif. David LaChapelle, director; Jim Evans, DP; Pascal Lebeque, executive producer. Shot on location.
AGENCY
Young & Rubicam, New York. Phil Balshi, creative director; Michelle Paccione, copywriter; Cynthia Herrli, art director; Hallett Hirons, producer.
EDITORIAL
Editing Concepts, New York. Nelson Leonard, editor; Josh Carter, assistant editor; Mike Goble, producer.
POST
Sam Edwards Group, New York. Sam Edwards, online editor/Flame artist. The Tape House Editorial Company, New York. Milan Boncich, colorist.
AUDIO POST
East Side Audio, New York. Bobby Giammarco, mixer.
THE SPOT
The :30 "I’ve Got It" features a table of young couples finishing dinner at a restaurant. When the check arrives, the men argue over the bill, each trying to pay with his Citibank Visa card. As they quibble, television monitors play a video of Elton John performing his hit "Saturday Night’s Alright For Fighting." A voiceover explains that whenever customers use their Citibank Visas, they enter a contest to see Elton John perform in concert.
Spot broke in late June.
***
Crew Cuts Calls
AT&T Long Distance
CLIENT
AT&T.
PRODUCTION CO.
PYTKA, Venice, Calif. Joe Pytka, director/DP; Vincent Joliet, executive producer. Shot on location.
AGENCY
Young & Rubicam, New York. Ted Bell, creative director; Ken Yagoda, producer; Eric Steinhauser and Peter Levathes, copywriters/art directors.
EDITORIAL
Crew Cuts West, Santa Monica. Adam Liebowitz, editor; Brian Durkin, assistant editor.
POST
Nice Shoes, New York. Scott Burch, colorist. Post Perfect, New York. Victor Mulholland, colorist. Hollywood Digital, Hollywood. Brian Robinson, online editor.
AUDIO POST
Howard Schwartz Recording, New York. Roy Latham, mixer.
MUSIC
David Crosby, composer.
THE SPOT
In "Father & Son," an American soldier on leave visits Vietnam, the country where his father once fought and about which he refuses to speak. After exploring Vietnam’s cities and countryside, the soldier dials his dad and tells him where he is. The father, upon hearing his son’s voice from Vietnam, says, "Let’s talk, son." David Crosby and Graham Nash sing a new version of the Crosby, Stills & Nash song "Long Time Gone" for the :60.
Spot broke June 14.
***
Skyview Controls Heat For GrillMaster
CLIENT
Sunbeam GrillMaster.
PRODUCTION CO.
Johns+Gorman Films, Hollywood. Jeff Gorman, director; Bojan Bazelli, DP; Sam Schapiro, executive producer; Lilly LaBonge, producer. (Company has since closed, with Gorman now directing via Farmland Studios, Hollywood.) Shot on location.
AGENCY
Ogilvy & Mather, Chicago. Tom Hall, chairman/CEO/executive creative director; Andy Madorsky, senior partner/group creative director/writer; Jeff Long, senior partner/group creative director/art director; Don McNeil, senior producer.
EDITORIAL
Skyview Studios, Chicago. Michael Coletta, editor; Mike Buhrow, assistant editor.
POST
Skyview Studios. Pete Jannotta, colorist; Jeff Charatz, online editor.
VISUAL EFFECTS
Skyview Studios. Cassie Scroggins, effects artist. ReZ.n8 Productions, Hollywood. Tim Brown, senior art director/animator; Rebecca Ramsey, producer.
AUDIO POST
Skyview Studios. Bill Reis, mixer.
MUSIC/SOUND DESIGN
Music Forever, Hollywood. Anthony Marinelli, composer; Bill Stele and Allen Schlaifer, sound designers; Kendall Marsh, producer.
THE SPOT
Actor Robert Wuhl shows off his grilling prowess in the :60 "Big Manifesto." Wuhl demonstrates the difference between grillers and GrillMasters to scores of buxom admirers while deftly twirling his tools and effortlessly flinging grilled foods to hungry friends.
Spot broke in June.
***
The Rosen Group
Fits For Gingiss
CLIENT
Gingiss International.
PRODUCTION CO.
Carey Productions, Los Angeles. Bill Carey, director/DP; Snake, executive producer. Shot at Blackhawk Studio, Chicago.
AGENCY
The Rosen Group, Chicago. George Kusch and Renee Rosen, creative directors; Colleen Durack, art director.
EDITORIAL
Avenue Edit, Chicago. Don Avila, editor; Chris Marcos, assistant editor.
POST
Avenue Edit. Debbie Rogers, colorist; Brad Sherman, online editor.
AUDIO POST
Avenue Edit. Danny McClelland, engineer.
THE SPOT
The :30 "The Perfect Fit" features men and boys of all ages, sizes and shapes who, while in a dressing room, playfully express how great they look and feel after trying on their Gingiss tuxedos.
Spot broke Sept. 1.
***
JSM Music Pole
Vaults For Footaction
CLIENT
Footaction USA.
PRODUCTION CO.
Voyeur Films, New York. Marcus Raboy, director; Adam Beckman, DP; Rob Aden, executive producer; Mary Ann Marino, producer. Shot on location.
AGENCY
DDB Needham Dallas. Jim Ferguson, chief creative officer; Jim Hord, creative director/copywriter; Carl Warner, creative director/art director; Kimberly Grear, producer; Matthew Bonin, assistant producer.
EDITORIAL
Panic & Bob, Toronto. Andy Ames, editor.
POST
DAVE, Toronto. Bill Ferwerda, colorist. Command Post TOYBOX, Toronto. Jeff Campbell, online editor.
VISUAL EFFECTS
Red Rover, Toronto. Linzi Knight, graphics designer.
AUDIO POST
Howard Schwartz Recording, New York. Bill Higley, engineer.
MUSIC/SOUND DESIGN
JSM Music, New York. Gareth Williams, composer/arranger/sound designer; Joel Simon, executive producer/creative director.
THE SPOT
"The reason you may not have heard of Lawrence Johnson is because he’s not a sprinter–he’s a pole vaulter," says the voiceover that opens the :30 "Scared of Heights." Johnson is then shown in action as the voiceover continues: "Sprinters may get all the glory, but deep down they’re just pole vaulters who are scared of heights."
Spot broke June 8.
***
Saatchi & Saatchi
Just Trusts Kix
CLIENT
General Mills/Kix.
PRODUCTION CO.
Harmony Pictures, Hollywood. Bill Scarlet, director; Barry Markowitz, DP; Kay Millet, executive producer; Ward Ricke, producer. Shot at Silvercup Studios, Long Island City, N.Y.
AGENCY
Saatchi & Saatchi, New York. Jerry Boyle, associate director of broadcast production/executive producer; Scot Carouge, creative director/art director; Dick Holt, creative director/writer.
EDITORIAL
Cabana, New York. Greg Letson, editor.
POST
Post Perfect, New York. Victor Mulholland, colorist; Bert Berat, online editor.
AUDIO POST
Nutmeg Recording, New York. Bill Brueckner, mixer.
THE SPOT
In the :30 "Just Trust Me," a 5-year-old girl offers her younger brother some Kix, asking him to "trust me, they’re good." The boy is reluctant to try them because there’s no candy or chocolate in Kix. She responds once again, "Just trust me." He retorts, "Why should I trust you? You said you’d give me a good haircut." The boy’s haircut, which was butchered by his sister and hidden from the viewer, is then revealed. He tries the Kix and loves them so much that he no longer cares how silly he looks. His sister says, "Hey save some for me," to which he responds, "I will, trust me."
Spot broke in June.
***
Superior Street Races For Surge
CLIENT
The Coca-Cola Co./Surge.
PRODUCTION CO.
Superior Street, Chicago. Steve Farr and Barry Poltermann, director; Jim Zabilla, DP; Dick Gillespie, executive producer; Lennie Appelquist, associate producer; Charlie Cobean, producer; Steve Ruggieri, production supervisor. Shot on location.
AGENCY
Leo Burnett Company, Chicago. Joe Gallo, creative director/art director, "Jet"; Phil Gayter, creative director/copywriter, "Jet"; Bob Rath, associate creative director/art director, "Lights Out"; John Hansa, associate creative director/copywriter, "Lights Out"; Stuart Kramer, producer.
EDITORIAL
Edit Sweet, Chicago. Jim Staskauskas, editor; Colleen Denbow, assistant.
POST/VISUAL EFFECTS
The Filmworkers Club, Chicago. Michael Mazur, colorist; Bill Ebel, online editor; Heidi Anderson, Flame artist.
AUDIO POST
Skyview Studios, Chicago. Brian Reed, mixer.
MUSIC
The Slang Music Group, Chicago. Vince Lawrence, composer.
SOUND DESIGN
Skyview Studios. Brian Reed, sound designer.
THE SPOT
The :30 "Lights Out" opens in a desolate warehouse, a can of Surge at one end of the building. When the "Surgemaster" shouts out, "Surge!" the battle for the soda begins as kids charge, jump, fall and push their way towards the can. The winner gets to "Feed the Rush." The :15 "Jet" features kids racing onto a parked Lear jet to showcase a "Surge Around the World" promotion.
Spots broke in June.
***
DMB&B Prank Calls
Pacific Bell
CLIENT
Pacific Bell.
PRODUCTION CO.
Jon Francis Films, San Francisco. Jon Francis, director; Larry Fong, DP; Linda Emery, executive producer; Jeff Vibes, producer. Shot at Custer Avenue Stages, San Francisco.
AGENCY
DMB&B St. Louis. Charlie Claggett, COO; Ric Anello, executive creative director; Greg Sullentrup, group creative director; Tony Gaudin, associate creative director/art director; Anne Strudell, associate creative director/writer; John Seaton, executive producer; Michele Morris, senior producer.
EDITORIAL
FilmCore, Hollywood. Michael Bartoli, editor; Paul Reim, assistant editor; Therese Hunsberger, executive producer.
POST
Encore Santa Monica. Vikki North, Henry/online editor; Bob Festa, colorist.
AUDIO POST
Margarita Mix, Hollywood. Rich Rauh, engineer.
MUSIC/SOUND DESIGN
Machine Head, Venice, Calif. Chris Neilman, composer/arranger; Stephen Dewey, sound designer; Patty Chow, executive producer; Nicole Perry, producer.
THE SPOT
In the :30 "Getting Ready," a good-looking man prepares to shave, dressed only in a towel. Just as he’s lathering up, the telephone rings. He decides to go for it, stumbling over a pair of shoes and stubbing his toe in the process. He finally makes it to the phone, but not in time to catch the call. After the voiceover explains Pacific Bell’s *69 call return feature, the man resumes shaving–but the phone rings again. The spot cuts to two elderly women in an apartment directly across from the man’s window: they’re fighting over the phone to see who will interrupt him next.
Spot broke June 8.
***
FilmCore Minces Gary For Round Table
CLIENT
Round Table Pizza.
PRODUCTION CO.
Nitro Films, Santa Monica. Tom DeCerchio, director; John Toll, DP; Oliver Fuselier, executive producer; Francine Weiner, producer. Puppetry by M5 Industries, San Francisco. Jamie Hyneman, puppet design/puppetmaster; Chrystene Ells and Mark Walas, assistant puppet design/puppetmasters. Shot at Culver Studios, Culver City, Calif.
AGENCY
Butler, Shine & Stern, Sausalito, Calif. John Butler, creative director; Melanie Menkemeller, art director; Matt Ashworth, copywriter; Meredith Norman, producer.
EDITORIAL
FilmCore, San Francisco. Doug Walker, editor.
POST
Western Images, San Francisco. Ali Laventhol, online editor. Encore Santa Monica. Jais Lamaire, colorist.
VISUAL EFFECTS
Western Images. Ali Laventhol, Henry artist; Orin Green, Flame artist.
AUDIO POST
One Union Recording Studios, San Francisco. Eric Eckstein, engineer/mixer.
SOUND DESIGN
FilmCore. Doug Walker, sound designer. One Union Recording Studios. Eric Eckstein, sound designer.
THE SPOT
Two :30s feature a man and his stop-motion sidekick, Gary Garlic. In the :30 "Gary Garlic," the man plucks Gary from his garden, then hustles him into the kitchen to show how Round Table uses roasted garlic on its pizza. Gary is chopped in half with a meat cleaver, fired upon by a blowtorch and flattened with a rolling pin. The :30 "Gary Variety" focuses on the spectrum of fresh toppings that Round Table offers, making the point by pummeling Gary with a pepperoni stick and an artichoke.
Spots broke in July.
***
Atlas Pictures
Plays Conn. Lottery
CLIENT
Connecticut State Lottery.
PRODUCTION CO.
Atlas Pictures, Santa Monica. Alexander von David, director; Gary Thielges, DP; Sterling Ray, president; Sharn Stinson, executive producer; Tom Cline, producer. Shot on location.
AGENCY
Cronin & Co., Glastonbury, Conn. Steve Wolfberg, creative director; Lester Ayala, producer; Greg Edwards, copywriter; Wayne Raicik, art director.
EDITORIAL
Hanks Editorial, Santa Monica. Gavin Tatro, editor.
POST
Encore Santa Monica. Vikki North, online editor; Bob Festa, colorist.
AUDIO POST
RavensWork, Venice, Calif. Robert Feist, mixer.
THE SPOT
In the :30 "Headgame," a humorous, rapid-fire argument takes place between a man buried up to his neck in sand and a passerby over possession of a lottery ticket.
Spot broke in August.
***
Shelter Films Drinks
Coolattas For HHCC
CLIENT
Dunkin’ Donuts.
PRODUCTION CO.
Shelter Films, New York. Jonathan David, director; Ron Fortunato, DP; Steven Shore, executive producer; Buzzy Cancilla, producer; Sue Rudofsky, production manager. Shot on location.
AGENCY
Hill, Holliday, Connors, Cosmopulos, Boston. Mike Sheehan and Dave Gardiner, creative directors; Scott Hainline, producer; Deb Martin, director of broadcast production; Marty Donahue and George Goetz, copywriters; Tim Foley and Chris Poulin, art directors.
EDITORIAL
Bug Editorial, New York. Andre Betz, editor; Jay Slot, post supervisor.
POST
Nice Shoes, New York. Pat Portella, online editor; Chris Ryan, colorist.
AUDIO POST
East Side Audio, New York. Bobby Giammarco, engineer.
THE SPOT
Two :30s promote Dunkin’ Donuts’ Fruit Coolattas and Coffee Coolattas. "Beach" spoofs the horror movie genre as people enjoying an idyllic day at the shore are interrupted by a lifeguard yelling, "He’s back!" Mass hysteria ensues as everyone runs to a man dispensing Fruit Coolattas. In "Construction," hot, sweaty workers are unfazed by the sight of a beautiful woman walking by their site, but they begin making cat calls when a co-worker shows up with Coffee Coolattas.
Spots broke June 29.
***
Chris Bell Uncorks
Jeannie For Lexus
CLIENT
Toyota Motor Sales USA/Lexus.
PRODUCTION CO.
Stiefel & Company, Hollywood. Craig Henderson, director/cameraman; Frank Stiefel, president; Phyllis Koenig, producer. Shot on location.
AGENCY
Team One Advertising, El Se-gundo, Calif. Tom Cordner, creative director; Jack Epsteen, producer; Dave Uible, copywriter; Jim Dearing, art director.
EDITORIAL
Nomad Editing Company, Santa Monica. Tom Muldoon, editor; Cindy Carey and Dave Anderson, assistants; Susye Idema, executive producer.
POST/VISUAL EFFECTS
Complete Post, Hollywood. Steven P. Arkle, colorist. Nomad Editing Company. Ashley Beck, Henry artist/online editor.
AUDIO POST
Mike Recording Services, West Los Angeles. Bob Gremore, mixer.
MUSIC/SOUND DESIGN
Chris Bell Music & Sound Design, West Los Angeles. Chris Bell, composer/sound designer; Andrea Crook, executive producer.
THE SPOT
In the :30 "Jeannie," an archaeologist discovers a bottle buried in the dirt and places it in the front seat of his truck. Unbeknownst to him, Jeannie of I Dream of Jeannie fame, is lounging in the back of the vehicle. As the man drives his hard-to-handle, off-road vehicle, Jeannie gets tossed around. Using her special magic, she transforms the driver into a younger, handsomer man, and the truck into the new Lexus RX-300 sport utility vehicle.
Spot broke in July.
***
First Edition Cleans
Up With Cascade
CLIENT
Procter & Gamble/Cascade LiquiGel.
PRODUCTION CO.
Half Baked Productions, New York. Kenan Moran, director; Kevin Jones, DP; Elyse Roth, executive producer. Shot at CECO International, New York.
AGENCY
Saatchi & Saatchi, New York. Leslie Goldman, creative director/copywriter; Enza Mullen, creative director/art director; Sheldon Levy, Danni Stoller and Lynn Appel, producers.
EDITORIAL
First Edition Editorial, New York. Royce Graham, editor.
POST
First Edition Editorial. Royce Graham, online digital-studio editor. Manhattan Transfer, New York. Ron Brower, colorist.
VISUAL EFFECTS
Splash Design, New York. Jason Strougo, CGI artist.
AUDIO POST
Aural Fixation, New York. Rich Cutler, engineer.
MUSIC
Russo/Grantham Productions, New York. Werner Fritzsching, composer; Marshall Grantham, arranger.
THE SPOT
The :30 "Roomies" engages Cascade LiquiGel as part of a culinary education, as two students get stuck cleaning up the mess left by their chef roommate.
Spot broke in June.
***
Cyclotron Kills Foot
Fungus With Lotrimin
CLIENT
Schering-Plough/Lotrimin.
PRODUCTION CO.
Morningside Movies, New York. Luis Argueta, director; Ramon Suarez, DP; Magali Capi, executive producer. Shot on location.
AGENCY
Vidal, Reynardus & Moya Advertising, New York. Jorge Moya, creative director; Fred Galarza, producer; Sofia Aguilar, copywriter; Ruben Mendoza, art director.
EDITORIAL
Post Perfect, New York. Rob Sirianni, editor.
POST
Post Perfect. Joe Bond, colorist; Laura Raimondo, online editor.
VISUAL EFFECTS
Cyclotron, New York. Angela Bowen, managing director; Tom Barham, visual effects supervisor; Lisanne McDonald, visual effects producer; Bruce Gionet, CGI director/animator; Tim Heath and Irene Vodar, animators; Tim Farrell, digital compositor; Dan Fenster, desktop video artist.
AUDIO POST
Aural Fixation, New York. Rich Cutler, mixer.
MUSIC/SOUND DESIGN
Fred Weinberg Music And Sounds, Stamford, Conn. Fred Weinberg, composer/sound designer.
THE SPOT
In the :30 "Foot Expert," a 3-D foot stands at the front of a classroom discussing the perils of athlete’s foot. As the foot is talking, it cracks and then bursts into flames. Suddenly, a cape-wearing can of Lotrimin swoops down and sprays the foot, saving the day and destroying the foot’s flaming fungus.
Spot broke in July.
***
Bednarz Film Races
Cars For Texaco
CLIENT
Texaco.
PRODUCTION CO.
Bednarz Film, Dallas. Jeff Bednarz, director; Curtis Wehr, DP; Tammie Edwards, partner/VP; Lisa Kleypas, executive producer; Gene Walker Black, producer; Teresa Messineo, production manager. Shot on location.
AGENCY
BBDO New York. Gene Lofaro, senior VP/executive producer; Richard Hicks, creative director/art director; Robert Campbell, writer; Loren Parkins, senior music producer.
STOCK FOOTAGE
Footage supplied by NASCAR and ESPN.
EDITORIAL
Crew Cuts West, Santa Monica, and Crew Cuts, New York. Adam Liebowitz, editor; Conor O’Flynn, assistant editor; Robin Hall, executive producer.
POST
Nice Shoes, New York. Chris Ryan, colorist; Rich Schreck, online editor.
AUDIO POST
Buzz, New York. Michael Marinelli, mixer.
MUSIC
Big Foote Communications, New York. Sherman Foote, composer/arranger; Ray Foote, producer.
THE SPOT
The :30 "It’s The Money" features car racing footage, driver Michael Andretti and Texaco’s Race to Millions game.
Spot broke June 29.
***
Big Picture Comm.
Buys A Packard Bell
CLIENT
Packard Bell/NEC.
PRODUCTION CO.
Big Picture Communications, New York. David Leach, director; John Perez, DP; Ava Seavey and Marc Campana, executive producers; Keith Brown, producer. Shot on location.
AGENCY
B. Little & Company, New York. Jordan Bochanis, creative director/copywriter/art director; Mary Ellen Duggan, producer.
EDITORIAL
Lost Planet, New York. Adam Schwartz, editor.
POST
Nice Shoes, New York. Ed Skupeen, online editor. SMA Video, New York. Billy Gabor, colorist.
AUDIO POST
East Side Audio, New York. Tom Jucarone, mixer.
MUSIC/SOUND DESIGN
Lost Planet. Tim Barnes, composer/sound designer.
THE SPOT
"Savings Branding" focuses on a penny-pinching father’s humorous attempts to conserve electricity and water in an effort to save money for a family computer. The :30 reveals that Packard Bell’s new PCs are an economical solution to such budgetary problems.
Spot broke July 15.
***
Barasch Music Has A Solution In Woolite
CLIENT
Playtex Products/Woolite Stain Solutions.
PRODUCTION CO.
Firehouse Films, New Rochelle, N.Y. (Firehouse recently moved to Mamaroneck, N.Y.) Steve Bruni, director/cameraman; Phil Mohtares, executive producer; MaryJane Louaver, producer. Shot at Firehouse Films Studios, New Rochelle.
AGENCY
Grey Advertising, New York. Bill Stewart Herman, copywriter; Linda Uellandahl, art director; Tracy Dennis, producer; Karen Skurka, assistant producer; Sallie Moore, music producer.
EDITORIAL
The Blue Rock Editing Company, New York. Gregg Suskin, editor; Kris Palestrini, assistant editor.
POST
The Blue Rock Editing Company. Louis Yandoli, online editor. Post Perfect, New York. Roger Doran, colorist.
AUDIO POST
Blast Digital Audio, New York. Joe O’Connell, mixer.
MUSIC/SOUND DESIGN
Barasch Music & Sound, New York. Mark Barasch, composer/arranger/sound designer; P. Dennis Mitchell, engineer; Paul Solovay, executive producer.
THE SPOT
The :15 "Drop Everything" shows a series of spills and mishaps that can befall a carpet. The disasters have a happy resolution when Woolite Stain Solutions, "the carpet cleaner with specific solutions for specific stains," steps in.
Spot broke in June
