David Butler of www.butlerfilm.com. “>Butler Film doesn’t shy away from controversy. When Washington, DC agency Elevation, Ltd. approached him to direct their new campaign for The Maryland Jockey Club promoting “The Infieldfest” at Preakness, the second jewel of the Triple Crown in horseracing, Butler knew the spots would get lots of attention. Why? Because the spots would introduce a potentially controversial new mascot who was part man and part horse.nn"I knew it would be a polarizing campaign," Butler says. "People would either love it or they would hate it. It was bold, it was crass, it wasn’t PC. But it stood out and it was funny. We knew it had the potential to go viral."nnSo David and the creatives got to work. The result was two spots featuring Kegasus, "the son of Preakesius, God of Thoroughbred racing, and Shelly McDougal, a waitress from Ellicott City." And viral it went. Not only did the campaign receive thousands of views on Youtube and many blog posts, the mainstream media weighed in as well. National Public Radio, The Wall Street Journal, The Washington Post, and many others ran stories covering the controversy. Do the spots encourage partying? (Yes). Do they run counter to the hallowed traditions of The Preakness? (Yes). Is Kegasus loud and brash? (Well yes, he’s a party manimal).nn
nClick here “Kegasus – Lord of the Infieldfest” to see video online.nnButler, whose work for CarMax was featured during last year’s Super Bowl is more philosophical. “90 per cent of all advertising is about trying hard to be as inoffensive as possible. This campaign was made for buzz. It was very freeing.”nnThe traditional television and radio buys integrated seamlessly with non- traditional distribution outlets such as blogs, emails and Youtube. Then there was the mainstream media blitz that followed, adding huge value in free publicity far beyond the media buy. Many people loved the irreverence. "Whether you like it or not, it was smart marketing," says Butler. "The campaign did exactly what it was supposed to do: generate lots of buzz."nnwww.butlerfilm.com. “>Butler Film is based in Annapolis, Maryland. See the campaign and more of David’s work at www.butlerfilm.com.nnCredits: nClient: The Maryland Jockey Club nProduct: The Infieldfest at PreaknessnTitle: Kegasus – Lord of the InfieldfestnAgency: Elevation, Ltd.nProduction Co: www.butlerfilm.com. “>Butler FilmnPost Production: Cerebral LoungeIf you'd like more information, or to schedule an interview with David Butler: Lynda Meier www.butlerfilm.com. ">Butler Film 410.280.1160 Contact Lynda via email
Pioneering The Visual Narrative: Bobola Oniwura’s Impact on Nollywood’s Cinematic Evolution
Nollywood is in the middle of a visual revolution, and at its core is Bobola Oniwura, the mastermind behind some of the industry’s most striking cinematic transformations. Oniwura is a pioneering colorist whose unique approach to film aesthetics has set new standards for how Nigerian stories are told on screen. From the gritty realism of King of Boys: The Return of the King to the vibrant energy of A Tribe Called Judah, Oniwura’s work has become synonymous with a new era of cinematic excellence, one where color grading is no longer an afterthought but a defining narrative tool. The film industry in Nigeria known as Nollywood has grown into one of the most prolific cinematic powerhouses in the world. Producing thousands of films annually, it ranks alongside Hollywood and Bollywood in terms of output. Once characterized by rapid, low-budget productions, Nollywood has undergone a remarkable transformation, embracing higher production values, diverse storytelling, and international recognition. The industry’s films now command global audiences, made possible by platforms like Netflix and Amazon Prime, and receiving acclaim at major festivals. This evolution has been fueled by creatives like Oniwura, who are redefining the post-production technical standards of Nigerian films. His impact extends beyond the color suite. Drawing on his background in Architecture and user experience research, Oniwura approaches color grading with an acute understanding of audience perception, crafting visual experiences that enhance storytelling, evoke emotion, and immerse viewers in the rich textures of Nigerian culture. His ability to merge technical precision with artistic intuition has positioned him as one of the most sought-after colorists in Nollywood... Read More