Berlin Cameron Sees Benefits Of Cloning.
CLIENT
Reebok.
PRODUCTION CO.
Mars Media, bicoastal. Samuel Bayer, director/DP; Bill Sandwick and Kerstin Emhoff, executive producers; Tracie Norfleet, head of production; Suzanne Haasis, line producer; Steve Lavy, visual effects producer. Shot at Sony Studios, Culver City, Calif. and on location.
AGENCY
Berlin Cameron & Partners, New York. Andrew Christou, creative director/art director; Ewen Cameron, creative director; Dane Johnson, producer; Simeon Roane, copwyriter.
EDITORIAL
Superior Assembly, Santa Monica. Jim Haygood, editor; Marc D’Andre and Sean Ormond, assistant editors; Kris Mapheney, producer; Kristine Masta, executive producer.
POST
Company 3, Santa Monica. Stefan Sonnenfeld, colorist.
VISUAL EFFECTS
The Mill, London. Sally Heath, producer; Antony Walsham, senior Flame artist; Peter Marin, Flint artist. XFX, Sun Valley, Calif. Steve Johnson, president; Matt Singer, project coordinator; Bob Newton and Eric Fiedler, head mechanics; Tom Kileen, Lenny MacDonald and Christien Tinsley, head painters. Pixel Liberation Front, bicoastal. Colin Green, president/previsualization supervisor; James Battersby, previs animator; Kyle Robinson, previs assistant animator; Gayle Busby, previs producer.
AUDIO POST
Magmasters, London. Tony Anscombe, mixer.
MUSIC
tomandandy, bicoastal. Sam Retzer and Tim Boland, composers; Scott Brittingham, producer.
SOUND DESIGN
Mit Out Sound, Sausalito, Calif. Ren Klyce, sound designer.
BY CAROLYN GIARDINA
In an epic-sized Reebok commercial, director/DP Samuel Bayer of bicoastal Mars Media has combined a live-action shoot that entailed roughly 6,000 runners with a complex special effects undertaking.
Conceived by New York-based Berlin Cameron & Partners, “Clones” opens on a massive shot of a marathon with a bleak, dreamy, monochromatic look, filmed just outside Prague. As the camera gets closer to the runners, it is revealed that the runners are clones–the same size, shape, look, even the same face and wearing the same athletic wear.
The spot’s pivotal moment occurs when the front runner’s body literally shatters, revealing a unique runner–new face, new look, new clothes. The tag reads: “You’ll never look the same again.”
“The premise of [the spot] is the individual versus conformity and ties directly back to the benefit of the DMX technology, which is individual customization achieved through cushions of moving air,” explained John Wardley, director of global advertising for Reebok. “The runner category is highly competitive, and runners are among the most discerning consumers of technical athletic footwear. By their very nature and attitude, runners are the antithesis of conformity.”
The concept, added Berlin Cameron creative director Ewen Cameron, “embraces the notion of technology that works for the individual, [which] led to this idea of breaking out [from] the conformity.”
It’s a premise that’s reminiscent’of Apple’s famed “1984” directed by Ridley Scott of now-defunct Fairbanks Films (he’s currently with bicoastal RSA USA) via Chiat/Day in Los Angeles (now TBWA Chiat/ Day, Venice). But once again, the concept is an effective product fit in the case of Reebok.
“It was important to capture a look of conformity, with dull, grayer tones,” noted Cameron, adding that the setting was intended to illustrate “conformity of today with a slight futuristic twist; we used existing architecture.”
As to why Bayer was selected to helm the project, he said, “Sam has a really good understanding of a broad spectrum of film. He can shoot close moments and really grand footage.” Bayer was unavailable for comment at press time.
Mars Media executive producer Bill Sandwick explained, “We wanted to capture the epic size and scope of a marathon, so we wanted to keep this as much live action as we could. We wanted to get as many runners as we could.”
An estimated 6,000 runners were shot, all of whom were about the same build and similar hair color. Roughly 300 of the most visible runners wore vacu-form masks of the lead runner’s face. The masks were created at Steve Johnson’s XFX, Sun Valley, Calif. In some instances the runners’ hair was sprayed to match. Seeing all the clones waiting for the shoot to begin, Sandwick recalled, was “eerie, but impressive.”
In post, London’s The Mill used rotoscoping to add the clone faces to the runners further back in the pack who were not wearing the masks. In some shots, The Mill created complete clones. The Mill’s senior Flame artist Antony Walsham said the most taxing part of the project was doing so much rotoscoping in a very tight time frame.
Meanwhile, the featured runner was shot on a greenscreen stage at Sony Studios in Culver City, Calif. He ran on a treadmill and had a trainer on hand to coordinate the actions to match the Prague shots.
For the shots of the man crumbling, XFX project coordinator Matt Singer explained that the shop made a breakaway version of the lead runner as well as molds of sections of the body that were predetermined to crumble in separate shots.
About 150 parts were ultimately brought to the set, ready to be destroyed if needed. The fragile pieces were glued together and painted. The team set up the shots so that compressed air would hit the pieces and they would fall apart. Singer noted that they could not use pyrotechnics because the pieces would have exploded rather than fallen.
For a shot in which the star runner’s leg shatters to reveal the rugged individual underneath, XFX actually placed a mold of the breakaway leg over the actor’s leg. It smashed when the runner’s leg hit the treadmill.
(XFX created a breakaway man for a commercial once before. The spot, entitled “Egg” for Sega Obsidian was directed by Rocky Morton of L.A.-based Morton Jankel Zander via Santa Monica agency Ground Zero.)
Reebok’s “Breakout” campaign will include three additional spots; the second is scheduled to break in July, All four are expected to air by the end of fall. The campaign continues the conformity-versus-individuality theme.
Cameron noted, “the key is while the production is very grand, the inspiration is a very simple idea about the product.”
***
Sight Effects KOs Allergies With Zyrtec
CLIENT
Pfizer/Zyrtec.
PRODUCTION CO.
A Band Apart Commercials/Los Angeles. Terry Windell, director; Guillermo Navarro, DP; Lawrence Bender and Michael Bodnarchek, executive producers; Debbie Tietjen, producer; Jennifer Silver Nieman, supervising producer; Stephanie Seligman, head of production; Victoria Howard, production manager. Shot at Sony Pictures Studios, Culver City, Calif., and on location.
AGENCY
HMC Consumer, New York. Steve DuPont, creative director/art director; Bobbie Kaplan, creative director/copywriter; Peter Zamiska, creative director; Suzanne Yost, producer.
EDITORIAL
Mad River Post/Santa Monica. Lisa Cheek, editor; Matt Grayson, executive producer.
POST
POP Television, Santa Monica. Wayne Hampton, colorist. Sight Effects, Venice, Calif. Phil Brennan, online editor.
VISUAL EFFECTS
Sight Effects, Venice. Alan Barnett, visual effects supervisor; Darcie Tang, visual effects producer; Phil Brennan and Doug Spilatro, visual effects artists. In-Sight Pix, Venice. Peter Nofz and Rick Sevy, animators; Nicole Tidwell, producer.
AUDIO POST
RavensWork, Venice. Eric Ryan, mixer.
MUSIC/SOUND DESIGN
Machine Head, Venice. Chris Neilman, composer; Mike Johnson, sound designer; Stephen Dewey, creative director; Nicole Perry, producer.
THE SPOT
In the :30 “The Power of Zyrtec,” a man opens his front door to get the morning newspaper. Pollen flies through the air, flowers and plants emerge from the sidewalk, and pets chase the man as he runs back into the house. He heads for the medicine cabinet and Zyrtec to defeat the allergy attack.
Spot broke April 9.
***
Seventh Art Falls In Love For GPTMC
CLIENT
Greater Philadelphia Tourism Marketing Corp.
PRODUCTION CO.
Cornerstone Pictures, Haverford, Pa. Tim Bieber, director/DP; Bill German and Kate Zimmer, executive producers; Joy Marx, producer. Shot on location.
AGENCY
Tierney & Partners, Philadelphia. Rich Russo, executive creative director; Chuck Borghese, creative director; Jonathon Burrows, associate creative director; Norris Post, art director; Therese Zeccardi, copywriter; Cate Wilson, producer.
EDITORIAL
Seventh Art Incorporated, Philadelphia. Burke Moody, editor; Ted Bourne, assistant editor.
POST
Modern Video Productions, Philadelphia. Rob Giglio, colorist; Billy Wood, online editor.
AUDIO POST
Modern Audio Productions, Philadelphia. Bob Schachner, mixer/engineer.
THE SPOT
Three spots in GPTMC’s “Love You Back” campaign feature celebrities describing “a little bit of their Philadelphia.” In the :30 “Oprah,” Oprah Winfrey confesses that while in town to shoot a movie, she fell in love with Philadelphia. A montage of scenes, including Nicholas the sloth bear at the Philadelphia Zoo and joggers in Fairmount Park, are woven together with shots of Winfrey’s journal entry describing her stay. Winfrey states, “I’m Oprah Winfrey and that’s my Philadelphia. You’ll love it and honey it’ll love you back.”0 In the :30 “Bob Dole,” the former senator salutes the sacred ground at Valley Forge, the scene of a defining moment in American history. The :60 “Celebrity Direct” features Winfrey, Ken Burns and Bill Cosby communicating “their Philadelphia.” Winfrey fell in love, Burns wants viewers to watch their kids’ eyes when they first see the Liberty Bell, and Cosby declares that there is “nothing warmer than the hearts of the people in my Philadelphia.”
Spots broke May 4.
***
Editing Concepts Parties With Mistic
CLIENT
Mistic Fruit Beverages.
PRODUCTION CO.
HSI Productions, Venice, Calif. Paul Hunter, director; Thomas Kloss, DP; Kerstin Emoff, executive producer; Kati Haberstock, producer; Jill Hardini, head of production. Shot on location.
AGENCY
DiNoto Lee, New York. Greg DiNoto, creative director; Patrick O’Neil, copywriter; Dallas Itzen, art director; Nikki Fox, producer.
EDITORIAL
Editing Concepts, New York. Nelson Leonard, editor; Garret Savage and Josh Carter, assistant editors; Nancy Finn, producer.
POST
The Tape House Editorial Company, New York. Patrick Ferguson and Kevin Gillin, online editors; Bobbie Thomas, colorist.
AUDIO POST
Photomag, New York. Rex Recker, mixer.
SOUND DESIGN
tomandandy, bicoastal. Steve McEnamey, sound designer.
THE SPOT
Rapper Foxy Brown portrays the gatekeeper at the nightclub “Living Delicious.” She allows patrons entrance only when she’s satisfied with their drink suggestions. The first customer steps up and offers “kiwi strawberry.” Satisfied, Brown says, “Welcome to Living Delicious. Have a glamalicious time.” Another patron, played by actor Lawrence Hilton-Jacobs (Washington on Welcome Back, Kotter), states “grape strawberry” to gain entrance. Next, a guy pitches “avocado banana” and “broccoli honeydew” and is denied access. He asks, “Why can’t I get into Living Delicious?” Brown replies, “Cause I’m in your way.” After a final look inside the wild club, the voiceover states, “Mistic, it’s all about living delicious.”
Spot broke May 11.
***
Computer Cafe Bugs New Organics
CLIENT
New Organics.
PRODUCTION CO.
Computer Cafe, Santa Monica. Ron Honn, director; Oliver Hotz, assistant director; Robert Cele-cia, DP; Jeff Barnes, executive producer; Vicki Weimer, producer. Shot at Computer Cafe.
AGENCY
Elgin Syferd, Seattle. Laurie Fritts, creative director/copywriter; Marty McDonald, art director; Amy Poisson, creative coordinator; Sandy Mislang, producer.
EDITORIAL
Computer Cafe. Jeff Barnes, editor; Jesse Newman, assistant editor.
POST
Pinnacle Studios, Seattle. Mark Dopps, online editor. POP Television, Santa Monica. Mark Griffith, colorist.
VISUAL EFFECTS
Computer Cafe. Ron Honn, animation director; David Ebner, technical director/animator; Oliver Hotz, lead animator.
AUDIO POST
Clatter & Din, Seattle. Peter Barnes, engineer/mixer.
SOUND DESIGN
Clatter & Din. Michael Justison, sound designer.
THE SPOT
The :30 “Ladybug” opens on an arranged group of New Organics food items. A ladybug flies into the frame and introduces herself as “one of the good bugs” who eats “the bad bugs.” She explains that New Organics makes “delicious organic foods using no harmful pesticides.” After a flying tour of the products, the bug again settles to earth. “So please buy them,” she implores. “We need the work.”
Spot broke May 27.
***
Big Pig Dances For Entergy Corp.
CLIENT
Entergy Corp.
PRODUCTION CO.
First Light Films, Atlanta. John Zurick, director; Pat Hall, DP; Vivian Jones, executive producer; Elyssa Bass, producer. Shot at PC&E Stage, Atlanta and on location.
AGENCY
J. Walter Thompson, Atlanta. Mike Lollis, executive creative director; Monte Wyne, group creative director; Isobel Moutrey, art director; Paige Ruddle, copywriter; Angie Trewhitt, producer.
EDITORIAL
Outback Editorial, Atlanta. Steve Cox, editor.
POST/VISUAL EFFECTS
Spin Productions, Atlanta. Keith Adams, online editor/Inferno artist. The Film Group, Atlanta. Richard Parker, colorist.
AUDIO POST
Doppler Studios, Atlanta. Granger Beam, engineer.
MUSIC
Big Pig Inc., New York. Dave Sherman, composer; Jerry Winkowski, executive producer.
THE SPOT
In the :30 “Squirrels,” animals dance to mambo music causing an electrical outage that results in Entergy technicians having to restore power.
Spot broke April 27.
***
Red Car Goes To Nike Business School
CLIENT
Nike.
PRODUCTION CO.
Atherton, Los Angeles. David Denneen, director; Thomas Kloss, DP; Anna Fawcett, producer. Shot on location.
AGENCY
Wieden & Kennedy, Portland, Ore. Jim Riswold, creative director; Dan Duffy, agency producer; Michael Folino, copywriter; Joe Shands, art director.
STOCK FOOTAGE
Budget Films Stock Footage, Los Angeles.
EDITORIAL
Red Car, Hollywood. Rob Watzke, editor; Jim Rodney, assistant editor; Elvia Gaitan, executive producer.
POST
Company 3, Santa Monica. Stefan Sonnenfeld, colorist. Hollywood Digital West, Santa Monica. Craig Price, visual effects/Henry artist.
AUDIO POST
RavensWork, Venice, Calif. Eric Ryan, mixer.
MUSIC
Admusic, Burbank, Calif. Jim Bredouw, composer; Korbin Kraus, producer.
THE SPOT
In “Business School,” CEO Michael Jordan sends some of his employees (including Vin Baker of the Seattle Sonics and Ray Allen of the Milwaukee Bucks) to the Bryman College of Business and Medical Assistance after they come up with an idea for a single mesh Nike shoe. At the college they become a powerhouse team, as Jordan remarks, “They’d better keep up their grades.”
Spot broke May 4.
***
Pavlov Goes To The Internet For NCTA
CLIENT
National Cable Television Association (NCTA).
PRODUCTION CO.
Pavlov Productions, Culver City, Calif. Rupert Wainwright, director; Bob Gantz, DP; Tracy Hauser, executive producer; Michelle Travinski, producer; Paul Kawasaki, head of production; Mike Lanham, production manager. Shot on location.
AGENCY
Bozell/Eskew Advertising, New York. Carter Eskew, president; Susan Armstrong, chief creative officer; Nick Hall, copywriter; Karen Maini, art director; Paul Mellett, executive producer; Sam Cherry, producer.
EDITORIAL
Crew Cuts West, Santa Monica. Bill Marmor, editor; Robin Hall, producer.
POST
Hollywood Digital, Hollywood. Steve Rodriguez, colorist.
VISUAL EFFECTS
Sony Pictures Imageworks, Culver City. Simon Scott, senior Flame artist. CR(x), Los Angeles. John Curry, graphic designer.
AUDIO POST
RavensWork, Venice, Calif. Eric Ryan, mixer; Scott Burns, second engineer.
MUSIC
Look Inc., New York. Jean-Marie Salaun, composer; Jeanne Look, producer.
THE SPOT
The :60 “Kids’ Heads” illustrates how cable television makes education come alive. The spot opens in a museum-like rotunda with children seated in front of their computers browsing various educational sites. The images on their monitors leap from the screens into real life: the space shuttle lifts off from a keyboard launch pad; sharks and assorted fish swim in the air above the students; and numbers soar into a back-lit tube. The leaping images illustrate the faster rate at which cable downloads information compared to phone lines.
Spot broke March 26.
***
A+R Gp. Makes Life Easy With Kenmore
CLIENT
Sears Merchandise Group/Kenmore.
PRODUCTION CO.
The A+R Group, bicoastal. David Cameron, director; Mark Plummer, DP; Roberto Cecchini, executive producer; Brian Kilcullen, producer. Shot at The Culver Studios, Culver City, Calif.
AGENCY
Ogilvy & Mather, Chicago. Maureen Shirreff, creative director; Donna Charlton-Perrin, copywriter; Courtney Weinberg, art director; Monna O’Brien, producer.
EDITORIAL
Avenue Edit, Chicago and Santa Monica. Matt Konicek, editor.
POST
Avenue Edit. Sue Herrmann, online editor; Deb Rogers, colorist, “Brilliant.” Company 3, Santa Monica. Stefan Sonnenfeld, colorist, “Flattering” and “Kenmore Days.”
VISUAL EFFECTS
Warjin Graphics, Santa Monica. Chris Warjin, graphic artist.
AUDIO POST
Avenue Edit. Danny McClelland, engineer.
MUSIC/SOUND DESIGN
Sublime Music, Hollywood. Giorgio Bertuccelli, composer/sound designer.
THE SPOT
Three stylish :30s spotlight Kenmore appliances and how they make life a little more convenient. “Flattering” highlights the wrinkle-guard feature of Kenmore dryers. “Brilliant” focuses on the cleaning results of Kenmore’s Ultra-wash Dishwasher. “Kenmore Days” incorporates a variety of Kenmore appliances.
Spots broke in April.
***
Crash Performs Miracles For Unicare
CLIENT
Unicare.
PRODUCTION CO.
Crash Films, Santa Monica. Gerald V. Casale, director; Welles Hackett, DP; Bill Fortney and Gary Ward, executive producers; Raub Shapiro, producer. Shot at The Culver Studios, Culver City, Calif., and on location.
AGENCY
Rubin Postaer and Associates, Santa Monica. Mark Erwin and Wendi Knox, VPs/associate creative directors; Gary Paticoff, VP/executive producer; Shelley Eisner, producer; Todd Carey, copywriter; Chuck Blackwell, art director.
EDITORIAL
Swietlik Inc., Hollywood. Dan Swietlik, editor; Paul Hendrix, assistant editor; Rebecca Jasmine, producer.
POST/VISUAL EFFECTS
Company 3, Santa Monica. Stefan Sonnenfeld, colorist. The Finish Line, Santa Monica. James Bygrave, online editor. Title design by TZLA, Venice, Calif. Ron Padua, designer.
AUDIO POST
RavensWork, Venice. Robert Feist, mixer.
MUSIC/SOUND DESIGN
Elias Associates, bicoastal. Jonathan Elias, composer/sound designer; Ann Haugen, producer.
THE SPOT
The :30s “Miracle/Re-enactment” and “Miracle/Rarity” spoof reality-based shows. In each spot, the serious announcer explains that events showcased will astound and amaze, as they are true medical miracles. The “miracles” include a man making an appointment with the doctor of his choice and “surveillance footage” of a woman singing the praises of Unicare.
Spots broke May 15.
***
Planet Blue Zooms With AT&T Wireless
CLIENT
AT&T Wireless Services.
PRODUCTION CO.
HKM Productions, Hollywood. Michael Karbelnikoff, director/DP; Ron Hacohen, head of production; Shawn Lacy Tesaro, production executive; Lisa Prentis Margulis, producer. Shot on location.
AGENCY
Foote, Cone & Belding/San Francisco. Corey Stolberg, creative director/art director; Joe Perry, associate creative director/copywriter; Betsy Decker, copywriter; Rob Thomas, senior producer.
EDITORIAL
Cosmo Street, Santa Monica. Ellen Crocker, editor; David Sowell, assistant editor.
POST/VISUAL EFFECTS
Planet Blue, Santa Monica. Nathan McGuinness, online editor/effects and compositing artist/supervisor; Denis Gauthier, CGI artist/supervisor; Milt Alvarez, executive producer; George Sanchez, producer; Pierre LaQuerre and Andrew Davis, assistants. Company 3, Santa Monica. Michael Pethel, colorist.
AUDIO POST
RavensWork, Venice, Calif. Robert Feist, mixer.
SOUND DESIGN
Machine Head, Venice. Stephen Dewey, sound designer.
THE SPOT
The :30 “Cannonball” illustrates the speed and clarity of a cell phone signal as it travels from Northern California to a New York City apartment. A man on a cliff hits “send” on his cell phone, resulting in the signal zooming past the bus of a touring rock band, to a farmer plowing his field, past a carnival ferris wheel to the New York skyline, down into an alley and through the window of a Manhattan apartment where a woman hands the phone to her baby.
Spot broke May 26.
***
Robert Berning Plays Louisiana Lotto
CLIENT
Louisiana Lottery Corp.
PRODUCTION CO.
Robert Berning Productions, New Orleans. Robert Berning, director; Michael Applebaum, DP; Bonny Botts and Bob Davidge, executive producers; Nina Killeen, producer. Shot on location.
AGENCY
Sides & Associates, Lafayette, La. Larry Sides, creative director/copywriter; Robert Randall, copywriter; Dwain Richard, art director; Rosemary Schnaars, producer.
STOCK FOOTAGE
Hot Shots Cool Cuts, New York.
EDITORIAL
Robert Berning Productions. Christopher Nelson, editor.
POST
Robert Berning Productions. Christopher Nelson, online editor/colorist.
VISUAL EFFECTS
Chimera Digital Imaging, New Orleans. Matt Hales, visual effects director; Matt Wisdom, Flint artist; Chris Phillips, CGI matchmove.
AUDIO POST
Score Music, New Orleans. Jep Epstein, mixer.
MUSIC/SOUND DESIGN
Score Music. Jep Epstein, composer/sound designer.
THE SPOT
“New Lotto” combines live action, CGI and animation to relaunch Louisiana Lottery’s lotto game. The :30 ends with the tagline, “More reasons to play.”
Spot broke April 19.
***
Zap Edit Breaks Free With Zyban
CLIENT
Glaxo-Wellcome/Zyban.
PRODUCTION CO.
Simpson Films, New York, in association with Crossroads Films, New York. Jerry Simpson, director/DP; Nick Wollner, executive producer; John Ficalora, producer. Shot at Silvercup Studios, Long Island City, N.Y.
AGENCY
FCB HealthCare, New York. Don Mulkey, VP/associate creative director/art director; Amy Houston, executive producer/producer; Marty Regen, copywriter.
EDITORIAL
Zap Edit, New York. John Zieman, editor.
POST/VISUAL EFFECTS
Post Perfect, New York. Tim Farrell, Flame artist; Bert Berat, online editor. Nice Shoes, New York. Chris Ryan, colorist.
AUDIO POST
Mixed Nuts, New York. Joe Vagnoni, mixer.
MUSIC
Elias Associates, bicoastal. Matt Fletcher, composer; Andy Solomon, producer.
THE SPOT
“Lighting Up” focuses on the powerful hold of nicotine addiction and how Zyban can give one the chance to “break free from smoking.”
Spot broke in April.
***
Lookinglass, Backyard Wake Up Budweiser
CLIENT
Anheuser-Busch/Budweiser.
PRODUCTION CO.
Backyard Productions, Chicago. Kevin Smith, director; Randy Arnold, DP; Blair Stribley, executive producer; Peter Keenan, producer. Shot on location.
AGENCY
DDB Needham Chicago. Don Pogany, creative director; John Hayes, art director; Barry Burdiak, copywriter; Karim Bartoletti, producer.
EDITORIAL
The Lookinglass Company, Chicago. Greg Snider, editor; Brian Hilburger, assistant editor.
POST/VISUAL EFFECTS
The Filmworkers Club, Chicago. Michael Mazur, colorist; Rob Churchill, online editor; Heidi Anderson, visual effects artist.
AUDIO POST
Chicago Recording Company. Dave Gerbosi, engineer.
MUSIC
John Lee Hooker, San Francisco.
THE SPOT
In the :30 “Farmer’s Daughter,” a man’s car breaks down in front of a farm in the countryside. The farmer allows the man to spend the night as long as the man can “keep his hands to himself.” At that moment, a beautiful young woman appears next to the farmer in the doorway. While the farmer sleeps, the daughter attempts to sneak the man out of the house as a series of noisy mishaps transpire. On the way outside, the man grabs a couple of Budweisers out of the refrigerator. Once inside the barn, the man opens the first Bud. With that sound, the slumbering farmer opens one eye. When the second beer is opened, he opens the other eye. Suddenly he turns on his light and grabs his gun. The farmer had warned the traveler to keeps his hands off his Budweiser.
Spot broke March 23.
***
CFM Is Prepared For Alliance Capital
CLIENT
Alliance Capital.
PRODUCTION CO.
Creative Film Management, New York. Gregory Hoblit, director; Adam Kimmel, DP; Lou Addesso and James Kadonoff, executive producers; Miriam Patterson, producer. Shot on location.
AGENCY
FerrellCalvillo Communications, New York. John Ferrell, president/chief creative officer; Frank DiSalvo, senior VP/director of broadcast production; Peri Calvillo, assistant broadcast producer; Richard Griffin, copywriter; Jim McCabe, art director.
EDITORIAL
Invisible Dog, New York. Richard Rosenbaum, editor; John Paul Morgan, assistant online editor.
POST
Invisible Dog. Richard Rosenbaum, online editor; John Paul Morgan, assistant editor. Nice Shoes, New York. Chris Ryan, colorist.
AUDIO POST
Bark, New York. Hans Ten Broeke, engineer.
SOUND DESIGN
Bark. Hans Ten Broeke, sound designer.
THE SPOT
Four :30s humorously illustrate what can happen when families fail to prepare for the future. In “Fishing,” a father urges his son to drop out of third grade and start looking for a job so that he and the boy’s mother can afford to retire. In “Pregnancy,” a young husband describes his investment strategy–the lottery–to his expectant wife. “Grandfather” shows a proud granddad with a newborn. The elder is told by his daughter that he’ll have to move out since the family can’t afford both him and the baby. In “Beach” a son is told by his parents that they are leaving everything in their will to his sister. The spots all end with the tag, “Don’t be caught unprepared … because later is sooner than you think.”
Spot broke March 23.
***
Jump Ship, DV8 For UCSF Stanford Health
CLIENT
UCSF Stanford Health Care.
PRODUCTION CO.
The Washburn Company, San Francisco. Al Fernandes, director; Jon Torcassi, DP; Jane Washburn, executive producer. Shot on location.
AGENCY
Zuckerman/Fernandes & Partners, San Francisco. Al Fernandes, creative director; Wictoria Markula, producer; Simon Tam, art director; Scott Leeper, Alex Cichy and Bennett Miller, copywriters.
EDITORIAL
Jump Ship Studios, San Francisco. Mike Murray, editor; Tomas McCabe, assistant editor; Susan Conklin, executive producer.
POST
Varitel, San Francisco. Bob Campbell, colorist. Jump Ship Studios. Ron Atik, online editor.
VISUAL EFFECTS
Jump Ship Studios. Ray Penezic, Flame artist/compositor/Mac graphics/title design; Ron Atik, Flame artist/compositor.
AUDIO POST
One Union Recording Studios, San Francisco. Eric Eckstein, engineer.
MUSIC
DV8, Los Angeles. David Livingston, composer/arranger.
THE SPOT
“Great Things,” “What Is” and “Honor” feature vignettes of patients who recovered after receiving treatment for various maladies.
Spots broke in April
