The 2020 AICP Post Awards winners, honoring excellence in a range of post production arts, were revealed tonight during a special virtual premiere held online, in keeping with social distancing initiatives driven by the COVID-19 pandemic. Tonight’s presentation is the second of three virtual celebrations that comprise AICP Week – which led off with the premiere of the AICP Next Awards on June 16th and will conclude with the screening of the AICP Show: The Art & Technique of the Commercial on June 18th.
Chris Franklin, Editor and Owner of Big Sky Edit, served as this year’s AICP Post Awards Judging Chair – a role he will repeat in 2021, owing to the truncated judging process for this year’s competition, which omitted its in-person curatorial committee review in light of the ongoing pandemic.
Editor Grant Gustafson of Cutters Studios emerged as the most-awarded artist at the Post Awards, winning in four categories for his work on Jeep’s “Groundhog Day,” created by Highdive and produced by O Positive. The spot, which starred Bill Murray reprising his role from the movie of the same name, won in the Automotive, Comedy, National Campaign and Best of Midwest (Automotive) categories.
To view all the winners of the 2020 Awards, visit the AICP Post Awards site at http://www.aicppostawards.com/.
The audio engineers Sam Ashwell and Mike Bovill of the audio post house 750mph won two AICP Post Awards, both for Ubisoft’s “Ghost Recon,” created by DDB Paris and produced by FRENZY. It won in the Audio Mix: Over 30 and Sound Design: Over 30 categories.
Two companies, Arcade Edit and MPC, saw work entered on behalf of their artists and editors honored with three AICP Post wins.
Arcade Edit Editor Paul Martinez won in the Cause Marketing/PSA category for “The Epidemic,” created by BBDO New York for Monica Lewinsky and produced by Sanctuary; Editor Ali Mao won in the Dialogue/Monologue/Spoken Word category for “I Am With You” for Chanel Miller, created by Rally and produced by Emerald Pictures; and Editor Dave Anderson won in the National Campaign category for “Inside Post’s Brain” for Bud Light Seltzer, created by Wieden+Kennedy and produced by O Positive.
MPC Colorist Mark Gethin won in the Color Grading: Under :60 category for “Anthem” for Google Next, created by 72andSunny and produced by SMUGGLER; Creative Director Michael Gregory won in the CGI category for “Legend” for BMW, created by Goodby Silverstein & Partners and produced by MJZ; and VFX Supervisor Toya Drechsler won in the Compositing & Visual Effects category, also for BMW “Legend.”
Two companies saw work by their artists and editors honored with two AICP Post Awards. At A52, Colorist Daniel De Vue won in the Color Grading: Music Video for “Projector,” produced by FRIEND for the artist EDEN, while VFX Supervisor Patrick Murphy won in the Best of West (Compositing & Visual Effects) category for “A Holiday Reunion” for Xfinity, created by Goodby Silverstein & Partners and produced by Park Pictures. At Cabin Edit, Editors Taylor Walsh and Randy Baulbis won in the Vertical category for “Swipe Night” for Tinder, created by 72andSunny and produced by m ss ng p eces; and Editor Sam Ostrove won in the Montage category for “NFL Kickoff” for the NFL, also created by 72andSunny and produced by Somesuch.
Leading the list of ad agencies most often credited with wining work was 72andSunny, which was responsible for winners in five categories, followed by Highdive, which netted winners in four. Goodby, Silverstein & Partners created work that won Post Awards in three categories.
The AICP Post Awards recognizes excellence in a range of categories, including Automotive, Comedy, Cause Marketing/PSA, Dialogue/Monologue/Spoken Word, Docu-Style, Fashion/Beauty, Montage, Music Video, National Campaign, Regional Campaign, Storytelling and Vertical for editorial, and Audio Mix, Character Design & Animation, Color Grading, Compositing & Visual Effects, CGI, Graphic Design & Animation, Sound Design and Typography Design & Animation for craft. It also honors the best regional work with Best of Region winners.
The opening title sequence and category interstitials for the Post Awards’ online premiere was created by Flavor, with the virtual presentation’s intro film produced by Dictionary Films. Music and sound design for the virtual presentation was created by Yessian, with post production services provided by Cutters. The AICP Awards sponsor reel, which plays at the start of each AICP Week virtual awards show, was created by Framestore, with music by Human.
Sponsors play an all-important role making AICP Week events possible. AICP Partners and Supporting Partners, who support all AICP events throughout the year, are CAPS – A Cast & Crew Company and Universal Studios (Partners); and Film Offices of The Hawaiian Islands; Musicbed + Filmsupply; Simian; Sony Pictures Studios; and The TEAM Companies (Supporting Partners).
Sponsoring the full complement of AICP Awards virtual presentations are ABK + Bogart’s Spirits, Aspen Travel, AwardCore, Bikini Lists, City National Bank, Color Lab, Cosmo Street Editorial, Cutters Studios, Flavor, Framestore, Global Production Network, Hello World Communications, Human, International Digital Centre, Inc., Island Film Group, Istros Media Corporation, Kane Kessler, Kodak Film, Little Black Book, LVLY, m ss ng p eces, PSP Production Portugal, Spain & Malta, Red Studios Hollywood, RNDM ORDR, SHOOT Magazine | SHOOTonline, Source | SHOTS | Slate, S’well, SyncFloor, Taylor & Taylor Associates Inc., Tendril, The Roots Production Service, Warner Brothers Studios and Yessian.
About AICP
AICP represents, exclusively, the interests of independent companies that specialize in the production and post pro-duction of commercials in various media—film, video, digital—for advertisers and agencies. The association, with national offices in New York and Los Angeles as well as regional chapters across the country, serves as a strong collective voice for this $5 billion-plus industry. Founded in 1972, AICP assists its members by: disseminating information; representing production and post production companies within the advertising community in business circles, in labor negotiations and dealing with employment issues; and before governmental officials; developing industry standards and tools; providing professional development; and marketing American production and post production via events and awards shows.
