Editor Paul Martinez of bicoastal Lost Planet was the big individual winner, garnering a pair of honors during the seventh annual Association of Independent Creative Editors (AICE) Awards Show gala held on Wednesday (5/21) at Gotham Hall in midtown Manhattan. Martinez topped the Storytelling and Visual Effects categories with Radio Shack’s “Record Problem” and PepsiCo’s “Pinball,” respectively.
Martinez cut “Record Problem” for Arnold Boston. The spot was directed by feature filmmaker Todd Field (In The Bedroom) via Uber Content, Hollywood. Meanwhile Pepsi’s “Pinball,” directed by the Traktor collective, came out of BBDO New York. Visual effects studio on the job was Method, Santa Monica.
All in all it was a good night for Lost Planet as Martinez’s colleague there, editor Jennifer Dean, won the AICE competition’s newly formed Music Video category for the Cold War Kids’ clip titled “Cold War Kids: Hospital Beds,” which was directed by Jay Martin of DNA, Hollywood.
Right behind Lost Planet’s three AICE Award wins were four shops that garnered two honors apiece: FilmCore, Optimus, Outside Editorial and Final Cut.
Tiffany Burchard of FilmCore Editorial, New York, scored in the Dialogue category for Cingular’s “Talking Text” directed by Alison Maclean of Park Pictures, New York, for BBDO New York and Atlanta. And Doug Walker of FilmCore Editorial, San Francisco, topped the Best of San Francisco category for Electronic Arts’ “Moment” helmed by Jason Smith of Bob Industries, Santa Monica, for San Francisco agency Heat.
The pair of wins for Outside, New York, came for editor Neil Gust’s work on Ford Motors’ “CX-F” and cutter Jeff Ferruzzo’s contributions to Heineken USA’s “Most Interesting Man.” The former spot–directed by Steve Mottershead and Chris Sargent via Tangerine Films, New York, for Euro RSCG, New York–won the Montage category, while the Heineken commercial topped the Best of New York category. Steve Miller of bicoastal/international @radical.media directed “Most Interesting Man,” also for Euro RSCG, New York.
Tie game
Optimus, Chicago and Santa Monica, and bicoastal Final Cut also each had two wins apiece. But they had another more uncommon bond as one of the wins for each house was part of a category–National Campaign for Final Cut, Public Service for Optimus–in which there was a three-way tie for the top honor.
First in terms of their stand-alone category wins, Optimus editor Craig Lewandowski took the Best of Chicago kudo for Kellogg’s “Montage-Poptage” directed by Gentlemen (a duo included in this year’s SHOOT New Directors Showcase; see separate story and mini-profiles) of Uber Content for Leo Burnett, Chicago.
And Rick Russell of Final Cut L.A. won in the Music/Sound category for Hummer H3’s “Don’t Blink” directed by Rupert Sanders of bicoastal/international MJZ for Modernista!, Boston.
Final Cut’s other AICE Award win was in the National Campaign category in which editor Jono Griffith of Final Cut USA, New York, scored for eBay’s “Fox Hunt,” “Dog Race” and “State Fair” directed by Traktor via bicoastal/international Partizan for BBDO New York.
The two other winners who tied with Griffith for National Campaign honors were editor Jordan Green of 89 Editorial, New York, for GEICO’s “Cabbage Patch,” “Beverly Hillbillies” and “Flintstones” out of The Martin Agency, Richmond, Va.; and editor Victor Masnyj of Ultrabland, New York, for Cinemax’s trio of “Sounds Good” spots for the client’s in-house agency.
Meanwhile Optimus’ was part of the three-way tie in Public Service, with Jim Staskauskas, cutting via the company’s L.A. shop, winning for PETA’s “The Talk” directed by Steven Tsuchida of Oil Factory, Los Angeles, for agency Matter.
The two other winners in Public Service were: editor Greg Letson of Fluid, New York, for Library of Congress’ “Train” directed by Sanji via Lucky Elliot for agency Geppetto Group, New York; and editor Doobie White of Therapy, Santa Monica, for the Alabama District Attorneys Association’s “Addict” which was helmed by Brian Weber of A Common Thread, Los Angeles, for agency D Groupe in Tuscaloosa.
And the third tie–albeit between just two recipients–in this year’s competition came in the Local Spot category: editor JJ Lask of P.S. 260, New York, for Bright House Network’s “Asterisk Anthem” directed by Brent Harris via bicoastal Believe Media for Florida agency Fry Hammond Barr; and editor Seagan Ngai of TEAK Motion Visuals, San Francisco, for Northstar Resort’s “Summer Sky Team” directed by Dave Laden through Teak for San Francisco agency Eleven.
As for other category wins, garnering the Comedy category kudo was editor Dan Maloney of The Whitehouse, New York, for Tide’s “Interview” directed by Calle Astrand of Dab Hand Media, London, for Saatchi & Saatchi, New York. Taking the Spec Spot category was editor Tad Fatum of Cut+Run L.A. for adidas’ “Bulls” directed by Brian Spitz.
Chapter kudos Rounding out the field of AICE winners are those in the remaining Best Of Chapter categories. Editor Toar Winter of Finish Editorial, Boston, topped the Best of Boston category for McDonald’s “Mr. Breakfast” directed by Chris Hooper of Bob Industries for Arnold, Boston.
Marc Hoffmeister of Fast Cuts Edits, Dallas, edited the Best of Dallas winner, D-Spot’s “Davis Building” helmed by Darren Cameron of Big Fish Films, Dallas, for The Point Group, Dallas.
Editor Rich Smith of Mad River Post, Detroit, won the Best of Detroit honor for Dodge Nitro’s “Ticket” directed by Peter Darley Miller of bicoastal/international @radical.media for BBDO Detroit.
Angus Wall of Rock Paper Scissors, Santa Monica, edited Saturn’s “Numbers,” the Best of Los Angeles winner, which was directed by Mike Mills of The Directors Bureau, Hollywood, for Goodby, Silverstein & Partners, San Francisco.
And topping the Best of Toronto category was editor Mark Paiva of School, Toronto, for Toyota’s “Toothbrushing” directed by Alan Poon of Circle Productions, Toronto, for Saatchi & Saatchi, Toronto.
(For a full rundown of AICE Award winners and project credits, see this week’s electronic edition or log onto www.shootonline.com.)
Hall of Fame
Another major evening highlight was the induction of legendary editor Billy Williams into the AICE Hall of Fame, which recognizes artists who helped to shape the industry, influencing and mentoring many others along the way.
Williams joined such luminary inductees over the years as Jerry Bender, Edna Paul, Howie Weisbrot, John Quinn, Dennis Hayes, Bea Conetta, David Dee, Jeff Dell, Jacques Dury, Bob Blanford, Tony Izzo, Jimmy Smyth, Arthur Williams, Roger Roth, Lee Lipner and Bob Sinise.
Williams, who has assorted groundbreaking spots to his credit, started the venerable Billy Williams Enterprises in New York (which is now Moondog Edit). His career spanned 40 years, ending when he retired from the editing biz in 2004.
