As 2012 draws to a close, it’s time for reflection on many fronts, including assessing what work was among the year’s most worthwhile creatively, and which in the process managed to strike a responsive chord with viewers.
While much of our rundown will focus on the best of our Top Spots and “The Best Work You May Never See” entries through the course of 2012, SHOOT editors felt compelled to first single out a piece of longer-form fare that emerged from the ad/marketing sector, most notably a project that played without much fanfare on the awards show circuit yet which arguably was among the year’s most profoundly positive work in terms of its impact on society. I Want To Say is a short subject documentary which introduced us to six families with autistic children who have found a voice through touchpad computer technology. Filmmaker Peter Sorcher of Bodega Studios looked back on the impact of the work, which he felt privileged to have directed.
“It first hit me when we met a youngster, Jordan, who through the computer was able to tell his mother for the first time that he loved her,” recalled Sorcher.
There’s also the story of Kayla who was depressed, seemingly hopeless and nowhere for 16 years. Schools wouldn’t accept her as a student. Now via the touch-based technology she has a voice. It turns out she has a powerful, talented voice and is a gifted student.
Kayla’s dad said that five years ago he wouldn’t have imagined that his daughter would be going to college. And now Kayla’s studies are driven by a sense of purpose for the autism community. She defines her goal as simply being “to change the way people view us.”
All this sprung from an insight mined by Goodby, Silverstein & Partners (GS&P), San Francisco, for Hewlett-Packard (HP, an account that has since moved on from the agency). When looking for markets to tap into for HP’s TouchSmart technology, GS&P’s account director John Coyne thought of a family he knew whose son had autism. He wondered if the youngster, Jordan, would find the touch screen interesting.
As it turns out, Jordan found the technology riveting and began communicating through it. Coyne saw the amazing potential and pursued it, pushing to get the technology in the hands of other families to see if these positive results could be replicated.”
GS&P hooked up with HP’s chief technologist Phil McKinney (since retired) who provided access to TouchSmart technology for designated families, working with the Palo Alto, Calif.-based, not-for-profit Hope Technology School, which specializes in educating a classroom mix inclusive of both neurotypical students and those with developmental differences. Technology plays a vital role in the motivation and progress of Hope Technology School students, fostering reading, writing, math and communication skills.
From all this emerged Hacking Autism, an initiative to develop and deploy technology to give people with autism a voice. HP also brought Autism Speaks into the fold. A leading autism science and advocacy organization, Autism Speaks worked with HP, GS&P and Hope Technology School to launch the first Hacking Autism event, the Hackathon, which connected the autism community with technology developers. Families impacted by autism, technologists and educators met a year ago for a two-day Hackathon session at HP headquarters to develop innovative touch-enabled applications for those with autism, and to make this software available free of charge. Computer engineers and designers heard directly from educators, students and parents, forming a cooperative commitment resulting in their very first app, a game designed to teach kids to distinguish simple emotions. (For more, log onto HackingAustism.org and/or facebook.com/HackingAutism.)
The Sorcher-directed documentary rose from the need to get the word out to the world at large, reflecting the human stories so that mainstream society can better understand autism and see the promise and value of technology in addressing it. Plus there was the compelling purpose of making more in the autism community aware of advancements being made.
Director Sorcher and Bodega partner/EP Clint Goldman spent the better part of some two years chronicling 22 families with children affected by autism, and how touch screen technology impacted the youngsters’ lives. For the final short subject documentary, which debuted this year, the focus was placed on six of those families.
Sorcher and Goldman, respectively, also directed and produced case study-style shorts about Hacking Autism, detailing that initiative, including the key role Jordan played in triggering what has become a global technology development movement with the support of such entities as HP, Intel, Quest, Disney, Autism Speaks and the Doug Flutie Jr. Foundation for Autism.
I Want To Say shows the power of creatives and strategists in our industry to do good, to make a positive difference in the lives of others. In many ways, it’s a testament to the power of creativity, filmmaking and ad/marketing acumen which can accomplish far more than moving sales for soda pop, sneakers and sheet metal.
Rundown Determining any year’s “best” is indeed a highly subjective proposition so SHOOT staffers looked to at least narrow the field–as we have in the past–by first culling through two bodies of work–our weekly Top Spots as well as our “The Best Work You May Never See” gallery entries throughout 2012.
We then selectively cut the candidates down to 15 Top Spot and 15 “Best Work” pieces, ultimately choosing a Top Five from each. We took some creative license by adding to the 15 finalists a piece of work or two that might have fallen through the cracks and not earned weekly “Top Spot” or “Best Work” status yet which we had covered extensively in other features or news stories during the course of 2012.
SHOOT also conducted an online poll of to get industry feedback regarding the year’s best Top Spots and “Best Work You May Never See” entries from the same respective 15 finalists. There were some distinct differences between the SHOOT editors’ selections and those who voted online–yet there was some common ground as well.
Far from an exact science, SHOOT took exacting measures to arrive at its picks. We talked to impartial advertising agency creatives during the year about our Top Spots and “Best Work” entries, taking their observations into account, and then processed all that with our own tastes and sensibilities.
So without further adieu, here are SHOOT’s selections for the Best Work of 2012, first for Top Spots, and then for our very best of “The Best Work You May Never See,” followed by our Top Music/Sound Tracks, and Top VFX/Animation entries.
Top Spots of the Year 2012 was a year not only with the Super Bowl but also the Summer Olympics, marquee events for advertisers. And each contributed a commercial to our rundown of the year’s best, the number one slot filled by “Best Job,” which launched P&G’s Summer Games campaign. Alejandro Gonzalez Inarritu of Anonymous Content directed “Best Job” for Wieden+Kennedy, Portland, Ore. (For more on this spot, see this issue’s Agency of the Year coverage.)
At number two is Chrysler’s two-minute Super Bowl commercial “It’s Halftime in America” directed by David Gordon Green of Chelsea, also for Wieden+Kennedy, Portland. “Halftime” won this year’s primetime commercial Emmy Award. (For more on this spot, see our Agency of the Year coverage).
Our number three selection is The Guardian’s “Three Little Pigs” directed by Ringan Ledwidge of Rattling Stick for BBH London. This piece addressed the changing nature of covering news. There was a time when journalists fed the news to the public. But that’s no longer the case in a digital age that finds tweeters and bloggers breaking stories. Well aware of the shift, The Guardian has embarked on a more modern form of newsgathering that has the venerable British newspaper relying on collaboration with outside sources. This approach is demonstrated in a clever re-telling of the classic Three Little Pigs fairytale.
At number four is DirecTV’s “Roadside Ditch” directed by Tom Kuntz of MJZ for Grey New York. When asked this summer for SHOOT’s mid-year survey what work had struck a responsive chord for him thus far in 2012, David Perry, director of broadcast production at Saatchi & Saatchi New York, said, “The DirecTV work from Grey has been consistently great. Sometimes a campaign starts to sag after the first year because clients get cold feet. But DirecTV has kept it up. One more good year and it will be counted along with Alka Seltzer and Little Caesars.”
“Roadside Ditch” is a great comedic piece, introducing us to a man who, after a frustrating phone call with his cable company, goes to play racketball to let off some steam. But as a voiceover explains, when you let off steam, that can lead to an accident. A ball hits the man in the eye, leading to his having to wear an eyepatch. The voiceover continues in this chain reaction of events, noting that when you wear an eyepatch, you look tough. Now riding in the back of a public bus, the man is being eyed by several hooligans.
And when you look tough, there are guys who want to find out how tough you are, relates the narrator. Sure enough, we see the hooligans chasing our eyepatch-wearing guy down the street. The v.o. then notes that when others try to see how tough you are, you end up laid out in a roadside ditch.
And rounding out our Top Five Top Spots for 2012 is Target’s “Color Changes Everything,” a primetime commercial Emmy nominee directed by Filip Engstrom of Smuggler for Wieden+Kennedy, Portland. (For more on this spot, see the Agency of the Year feature story in this issue.)
Another POV on Top Five Finishing first in the online Top Spot poll was Nissan Altima’s “Enough” directed by David Shane of O Positive for TBWAChiatDay, L.A., which earned nearly 45 percent of the vote, followed by Majestic’s “Wear Your Hero” directed by Randy Hackett of No Smoke Films for agency Periscope, Minneapolis, with 35 percent. Rounding out the top five were: Corona Light’s “Stan” directed by Mike Mills of The Directors Bureau for Goodby, Silverstein & Partners, San Francisco, followed by Isis’ “Supermarket Meltdown” directed by Dante Ariola of MJZ for Butler Shine Stern & Partners, Sausalito, Calif., and J20’s “A Bottle of Togetherness” directed by The Daniels of PRETTYBIRD for BBH, London.
“Best Work” Gallery The Paralympics–one spot pertaining to the U.S. team of physically challenged athletes, the other for the global competition held in London shortly after the Summer Olympics–accounted for two of 2012’s Top Five entries from SHOOT’s “The Best Work You May Never See” gallery. However, finishing first was a charmingly comedic spot, Cape Cod Potato Chips’ “Seagulls,” directed by Tony Petrossian of Rhythm+Hues Commercial Studios for Baltimore ad agency GKV.
The spot opens on a man as he reaches into a bag of Cape Cod Chips. A voiceover contemplates different scenarios and stages of potato chip nirvana.
The v.o. first asks, “What could be better than Cape Cod Chips?” He then answers his own query with, “Maybe if you ate them on a beach.”
The camera then reveals the guy is enjoying the chips on a serene beach in concert with the v.o.’s “what if?” scenario,
“Maybe if you ate them on a beach while a flock of seagulls sings peacefully.”
Sure enough, we then see seagulls gliding by in the distance,.
“Maybe if you ate them on a beach while a flock of seagulls sing A Flock of Seagulls.
Indeed the next sight consists of four seagulls on keyboard, drums and two guitars rocking out and crooning the Flock of Seagulls hit, “I Ran (So Far Away).”
The v.o. then affirms that this impromptu concert is indeed the best scenario, segueing to a slogan that positions Cape Cod as the “Home of Ridiculously Good Chips.”
The number two slot in our yearly rundown is filled by British Heart Foundation’s “No Kissing” directed by Wayne McClammy of Hungry Man for Grey London. The piece brings a comedic bent to hands-only cardiopulmonary resuscitation (CPR) instruction, deftly applying the Bee Gees’ “Stayin’ Alive” disco hit to the procedure.
The instrument for both CPR and comedy is actor Vinnie Jones, portraying a gangster character somewhat reminiscent of his past role as Big Chris in the movie Lock, Stock and Two Smoking Barrels. In the spot, Jones, who’s standing in the middle of what appears to be an abandoned warehouse, relates, “Say some geezer collapses in front of you–what do you do? We need a ‘volunteer’ who ain’t breathing.” That volunteer is immediately produced by two burly thugs who slide the “geezer” along the warehouse floor. The geezer isn’t breathing as he ends up at the feet of Jones who shows us how to perform hands-only CPR–all to the beat of “Stayin’ Alive” which is blaring on a nearby boom box.
Next up at numbers three and four in our rundown are the Paralympics-themed spots. The third slot goes to a U.K. Channel 4 promo, “Meet the Superhumans,” for its coverage of the London 2012 Paralympic Games. Athletes bound in wheelchairs, others missing a limb, still others with varying forms of paralysis are seen hitting the track and field, the basketball court, the soccer field, the gym, the swimming pool and the weight lifting room, among other competitive and practice venues. They are determined, powerful and ready to go for the Gold, Silver and Bronze in the Paralympics.
Several athletes are juxtaposed with images of what made them physically challenged. In one stark shot, a male athlete is seen next to the automobile wreckage of 20 years ago which had injured him. Another scenario depicts an ultrasound reading reflecting an apparent birth defect. Yet another scene captures a military action gone wrong as an explosion rocks the world of a soldier who nonetheless perseveres to become a world class Paralympics competitor. Snippets of these stirring stories are meshed within the context of this minute-and-a-half promo spot to convey just how far these athletes have come in order to make the grade for the 2012 Paralympics.
As we see stirring images of these athletes training and performing at a high level, supered messages appear on screen which read, “Forget everything you thought you knew about strength”/”Forget everything you thought you knew about humans.” Indeed, “it’s time to do battle.”/”Meet the Superhumans.”
This :90 promo was directed by Tom Tagholm who was also the lead creative for 4creative, London, with visual effects from MPC.
Garnering the fourth slot was U.S. Paralympics “Words-Own Your Life” directed by Luc Schurgers via Green Dot Films for agency Ignited. We open on U.S. Navy reservist Mike Johnston stepping out on the track, warming up and preparing for his evening training session. He takes a breath and adjusts his foot into the starter block. He turns his gaze up in determination and begins his sprint with the utmost focus.
We then see that Johnston is no ordinary athlete as we cut to a shot of his amputated leg supported by the word “Passion” in place of where his prosthetic leg normally exists. We see him careen forward at full speed, treading evenly on both real and false limb alike as we see his leg morph to read, “Power.” The shot of his moving legs slows along with the super, “Strength,” which suddenly shatters, revealing his real-life prosthetic leg.
Johnston moves out of the screen as we see the super, “Own your life, ” along with the v.o., “You already have everything it takes to own your life.”
And taking the fifth was a spec spot, “Corvette Heaven,” directed by Rich Landes based on a concept from a creative team at Goodby, Silverstein & Partners, San Francisco. The two-minute piece helped Landes gain another slot, one in the Up and Coming Directors feature story in SHOOT’s Fall Directors Series. He is handled by MJZ.
Another perspective SHOOT editors and the readers poll agreed on the number one slot for the best of “The Best Work You May Never See” in 2012. An overwhelming 97 percent of voters selected Cape Cod Potato Chips’ “Seagulls” as the year’s very best. Finishing a distant second was the “Corvette Heaven” spec spot. Tied for third were PETA’s “Chip Pitch” directed by Clay Weiner of Biscuit Filmworks for Y&R New York, and U.K. Channel 4/Paralympics promo “Meet the Superhumans.”
Off the Charts: Ad tracks Our second annual Best of the “Top Ten Tracks” quarterly charts for the year yields another Top Five in Music & Sound for the best scored ad projects.
SHOOT’s number one ranked pick is Volkswagen’s “The Bark Side” from music/sound house Endless Noise for Deutsch LA. The online piece served as a teaser for VW’s Super Bowl commercial, “The Dog Strikes Back.” Directed by Keith Schofield of Caviar, “The Bark Side” :60 features dogs barking in chorus, crooning a canine rendition of “The Imperial March,” otherwise known as “Darth Vader’s Theme.” Entrusted with making the vocals work was music/sound house Endless Noise, featuring the talents of creative director/arranger Jeff Elmassian. Audio post mixer was Mark Meyuhaus of Lime Studios.
Finishing second is Canon USA’s “Inspired” from Grey NY “Inspired” was directed by Nicolai Fuglsig of MJZ, with Black Iris Music serving as music house and Bill Chesley of Henryboy as sound designer. (For more on this spot, see the Top Ten Chart story on this quarter’s number one entry.)
Taking third place is Brand USA’s “Land of Dreams.” JWT NY had an ambitious goal for the campaign–to create an invitation for people worldwide, asking them to come to the U.S. and discover a country that they perhaps thought they knew but which still has many eye-opening, rich, fulfilling surprises in store spanning diversity, cultures, people, communities and attractions. Plus the invite had to be less about America tooting its own horn and more about welcoming travelers in a warm, humble manner.
Key to these goals was an originally composed song “that said exactly what we wanted to say, by an artist who had a family legacy with American music,” said Paul Greco, director of music at JWT NY.
That artist was Grammy Award-winning singer/songwriter Rosanne Cash–daughter of American music legend Johnny Cash–who teamed with her husband, producer/arranger John Leventhal of music/sound house NY Noise, to write an original song, “Land of Dreams,” for Brand USA’s “Discover America” campaign.
The song became the driving force for the campaign as well as the 60-second spot, also titled “Land of Dreams.”
Inviting people everywhere to “come and find your land of dreams,” the lyrics and music are simple, elegant and run deep, accompanied by images in the spot–directed by Dave Myers of @radical.media–that are a departure from the U.S. tourism norm, showing beautiful imagery of rich experiences, cultural diversity and scenes from destinations around the country not often depicted in postcards. The centerpiece TV commercial also features Rosanne Cash playing “Land of Dreams” under New York’s Brooklyn Bridge, accompanied by musicians from home and abroad.
Audio post mixer was Tom Jucarone of Sound Lounge.
Finishing fourth is the Canon short film Man and Beast directed by Dante Ariola of MJZ for Dentsu America, with a subtle sublime score from music/sound house Stimm๏ฟฝng. Commissioned by Canon to showcase the visual prowess of its new 4K cinema EOS C500 camera, Man and Beast tells the real-life story of Dr. Alan Rabinowitz who as a child had a severe stutter, back when those with such a condition were placed in classes for the learning impaired. His one outlet came in the form of animals whom he could speak to at home without a stutter (a gerbil, a snake, small pets that could live in a small NYC apartment).
As a youngster, Rabinowitz realized that these animals were like him–without a voice. And he made a pledge to himself that if one day he could control his stuttering and realize his voice, he would become a voice for animals. Today, Dr. Rabinowitz is regarded as one of the world’s leading big cat experts and was described by Time magazine as being “the Indiana Jones of wildlife conservation.”
The Stimm๏ฟฝng ensemble on Man and Beast included composer William Flynn and sound designer Gus Koven.
Audio post mixer was Jimmy Hite of Margarita Mix.
And taking the fifth slot is Logitech’s “Christmas Truce” directed by Paul Hunter of PRETTYBIRD for San Francisco agency DOJO. The spot depicts the power of music as we’re taken to a War World I battleground with artillery fire being exchanged. Suddenly a lone German voice sings a Xmas carol. Soon others join and before you know it the carnage gives way to a holiday truce. Stephen Dewey of Machine Head served as producer/sound designer/musical director. His Machine Head collaborators included composers Kim Smedley and Greg “Gregtronic” Jenkins and exec producer Patty Chow. Joaby Deal of One Union Recording was the mixer.
Different take For a different perspective, SHOOT’s online poll gained industry feedback as to the year’s Top Track from a field of 15 finalists. Finishing first with 36 percent of the vote was Logitech’s “Chrismas Truce.” Second place went to Canon USA’s “Inspired” which took 26 percent. The Canon-commissioned short film Man and Beast finished third at 15 percent. Taking fourth place with 5.5 percent of the vote was Budweiser’s “Eternal Optimism” with music by Yessian Music and sound design from Jafbox Sound for agency Anomaly, NY. And rounding out the top five was Target’s “Color Change Everything” which moved to the best of The Delta Rhythm Boys’ rendition of “Allouette” for Wieden+Kennedy, NY. Phil Loeb of Heard City, NY, served as audio post mixer on both “Eternal Optimism” and “Color Changes Everything.”
Off the Charts: The Year’s Top VFX/Animation In sifting through SHOOT’s quarterly Visual Effects & Animation Charts, there were close calls as to which work would make the final cut for the Best Five of 2012.
Ultimately two aforementioned commercials wound up topping the list: Guardian’s “Three Little Pigs” finishing at number one, followed by Cape Cod Potato Chips’ “Seagulls” at number two. The Mill, London, served as the visual effects house on “Three Little Pigs.”
Rhythm+Hues gave us the singing musician seagulls for the charming Cape Cod Potato Chips commercial.
Finishing third is Nike’s “Take Control” from Aardman Animations in Bristol, U.K., and Wieden+Kennedy, London. FC Barcelona midfielder Andres Iniesta stars in this 45-second spot–but mostly in the form of a string puppet moving about on a miniature soccer field.
Like the real-world Iniesta, the marionette version–with strings attached–displays some fancy footwork, eluding pursuers while dominating the midfield.
He performs with a ballet-like precision to face his final obstacle, which is lowered onto the field–a goal with the goalkeeper standing out front. Iniesta indeed scores, making an impact that is surpassed by the one pulling the strings–instead of a hand serving as puppeteer, we see that the strings are being manipulated by a foot which wears, like Iniesta, Nike’s new shoe, the CTR 360 Maestri III.
For the spot. Patrick Boivin directed both the animation and live action.
Next, nestled in fourth place is Bing’s “Bumble-less” produced by Bent Image Lab, Portland, Ore.
Bumble, a.k.a. the Abominable Snowman, stars in the commercial, marking his modern-day return from the classic, longstanding stop motion animated TV special Rudolph the Red Nosed Reindeer.
Directed by Bent’s Ken Lidster, this :30 finds the beast trying to instill fear into a couple of elves, but his roar isn’t what it used to be–so much so that they laugh at him.
Determined to get his monster mojo back, Bumble consults the Bing search engine. Typing “scary monster” into the search field, he quickly locates some helpful videos that help bring him back to frighteningly normal. Inspired by what he sees, the furry, scruffy white creature goes back outside, sneaks up on the unsuspecting elves again and scares the daylights out of them.
Rounding out our Top Five is the aforementioned U.S. Paralympics’ “Words–Own Your Life.” Director Luc Schurgers of Green Dot Films served as creative director for visual effects house MiniVegas, Amsterdam, London and Los Angeles.
2012’s Top Five Music Tracks
| Title | Music/Sound | Audio Post | Agency | Production | |
1 | Volkswagen’s (view spot below) | Endless Noise, Santa Monica, Calif.Jeff Elmassian, creative director/arranger; Mary Catherine Finney, producer. (An all-canine chorus arrangement of John Williams’ “The Imperial March” from Star Wars) | Lime Studios, | Caviar, Venice, Calif.Keith Schofield, director | |
2 | Canon USA’s “Inspired” (view spot below) | Black Iris Music, bicoastalRob Barbato, music arranger; Daron Hollowell, Jonathan Fuller, music creative directors; Jenny Hollowell, EP; Amy Crilly, producer; Rob Lowry, assistant producer; Rachel Fannon of Only You, vocals (courtesy of White Iris Records). | Heard City, New YorkKeith Renaud, mixer | Grey New YorkZach Pollakoff, music producer; Josh Rabinowitz, director of music | MJZ, bicoastal/international |
3 | Brand USA’s (view spot below) | NY Noise, New YorkCraig Bishop, exec producer; Rick DePofi, John Leventhal, producers/arrangers. | Sound Lounge, | JWT New YorkPaul Greco, director of music | @radical.media, bicoastal/international |
4 | Canon’s (view spot below) | Stimmung, Santa Monica, Calif.William Flynn, composer; Gus Koven, sound designer; Ceinwyn Clark, exec producer; Kristina Iwankiw, producer. | Margarita Mix, | Dentsu, New York | MJZ, bicoastal/internationalDante Ariola, director |
5 | Logitech’s (view spot below) | Machine Head Music and Sound Design, | One Union Recording, | DOJO San Francisco | PRETTYBIRDPaul Hunter, director |
2012’s Top Five: VFX/Animation
| Title | Visual Effects/Animation | Agency | Production | |
1 | Guardian’s “Three Little Pigs” (see video below) | The Mill, London.Gemma Humphries, VFX producer; Gary Driver, shoot supervisor/lead 2D artist; David Fleet, shoot supervisor/lead 3D artist; Adam Lambert, 2D artist; Tom Bolt, Jonathan Wood, Adam Droy, Luke Tickner, Alberto Lara, Iker De Los Mozos, Natalie Rocks, Adam Darrah, 3D artists; Ivo Sousa, motion graphics; Mick Vincent, colorist; Adam Brandon, art department; Robert Granger, rotoscoping.. | BBH London | Rattling Stick, LondonRingan Ledwidge, director |
2 | “Cape Cod Potato Chips’ “Seagulls” (see video below) | Rhythm+Hues Commercial Studios, Los Angeles Tony Petrossian, director; Paul Babb, executive producer; Kat Dillon, head of live action; Lisa White, head of CG/VFX; Jon Derovan, line producer; Caroline Heyward, CG/post producer; Nik Titmarsh, VFX supervisor; John Goodman, animation supervisor; John Heller, 2D supervisor; Tim Miller, Flame artist; Steve Wellington, editor | GKV, Baltimore | Rhythm+Hues Commercial StudiosTony Petrossian, director |
3 | Nike’s “Take Control” (see video below) | Aardman Animations, Bristol, U.K.Patrick Boivin, director/storyboard/animation; Jason Fletcher-Bartholomew, producer; Maggie O’Connor, production coordinator; Jay Clarke, storyboard; Grant Maisey, animation; Ben Barrrowman, floor mgr; Sam Morris, DP; Joe Maxwell, camera assistant; Nat Sale, electrician; Nick Herbert, rigging; Cool Rain, models; Sion Lane, set; Jim Lewis, CGI supervisor; Jim Lewis, Paule Quinton, Bram Ttwheam, Mike Shirra, Owen Revell, Andy Hunwick, Fincher Trist, compositing. | Wieden+Kennedy, London | Aardman AnimationsPatrick Boivin, director Sur Pictures, Barcelona (live-action production) Patrick Boivin, director |
4 | Bing’s “Bumble-less” (see video below) | Bent Image Lab, Portland, Ore.Ray Di Carlo, Tsui Ling Toomer, EPs; Kara Place, sr. prod.; Jerold Howard, Joe Mello, animators; Greg Arden, art dir.; Matt McKenna, puppet lead; Kimi Kaplowitz, Marty Easterday, Brandy Cochrane, Hazel Malone, puppet fabrication; Kate Fender, puppet costumer lead; Sarah Frechette, puppet costumer; Gary McRobert, armaturist; Abbey Paccia, Stephen Bodin, Traci Cook, 2D; Brian Peitrowski, models; Perci Harding, Mich Conklin, modelmakers; Tony Candelaria, sculptor; Keenan Keeley, Loren Candela, set fabrication; Christina Owen, scenic lead; Orland Nutt, compositor, colorist. | N/A | Bent Image Lab |
5 | U.S. Paralympics’ “Words–Own Your Life” (see video below) | MiniVegas, Amsterdam, London, Los Angeles Luc Schurgers, creative director; Maarten Boon, managnig director; Ellen Utrecht, exec producer; Roben Schlikker, Klaas-Harm de Boer,3D artists/animators; David Zaretti, compositor/online operator. | Ignited, bicoastal | Green Dot Films, Santa Monica, Calif. Luc Schurgers, director |
