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Seen and noted![]() New aids work ... "The Know Is Spreading"![]() ![]() ![]() "The Know Is Spreading" In this great new aids awareness spot from CP+B & Believe Media, a mural moves through an urban landscape. Nice track ... beautifully crafted ... simple message. However "the know" isn't spreading as fast as it could - they didn't send us an mpeg. Otherwise you could view it right HERE No advertising website is quite complete without mentioning Crispin, Porter+ Bogusky. We are now complete. Sprint: the "yes-man" re-invented![]() The yes-man concept continues The ads focus on how Ford product engineers are rarely in their offices and need to work where the cars are, whether engineers are with suppliers or in test labs. So their desk phones have been replaced with 8,000 Sprint walkie-talkie wireless phones so the engineers can communicate from wherever they are. By extending their workplace these employees can be more efficient, which is helping Ford to shorten the timeframe from concept to showroom. Real results speak for themselves, and the yes-man concept is a fun way to attract attention to those making a difference in their businesses by using Sprint to make virtually any place a workplace, said Jon Soto, co-executive creative director at Publicis & Hal Riney. Stylish new Lexus spot for Dentsu Canada via Bruce Dowad.![]() Stylish spot for Dentsu Canada via Bruce Dowad. LOS ANGELES, October 7, 2005 With his latest spot, Lexus Moments via Dentsu Canada, director Bruce Dowad of Bruce Dowad Associates, Los Angeles endeavored to create a visceral experience both surprising and iconic. The ad presents a series of poignant captured moments both stock and shot that are projected on what appears to be a screen. Throughout the spot, a voice-over describes life as a series of such moments. As the camera pulls back, we see the images arent being projected on the screen rather its the solid line of the road, and the breaks in the film arent being caused by the projector, they are being caused by the roads dividing lines. The spot ends with the Lexus motoring down the road of life headlong into the future. Lexus (Canada) - Moments Production Company: Bruce Dowad Associates/ LA Circle Productions/ Toronto Director: Bruce Dowad DP: Bojan Bazelli EP: Jessica Carlson (BDA), Karen Tameanko (Circle) Producer: Merrie Wasson Agency: Dentsu/ Toronto Creative Catalyst: Glen Hunt Art Director: Deborah Prenger Agency Producer: Amanda Loughran Inside the producer's head. Tom Keramidas, VP/ Senior Producer,
This week, we've put a series of questions to a few TV producers around the globe trying to get inside their heads.
Amongst them ... Tom Keramidas, VP/ Senior Producer, Leo Burnett, Chicago. bestads: How do you choose directors? TK: I have a database with extensive notes on every director's reel I've screened. I input information about what they tend to shoot and how I feel about the work. When a new project comes up, my database gives me a good starting list of directors. bestads: Whats the usual process? Is there a better way? TK: I wish there was enough time for me to keep up with all the reels that keep coming in. I depend on sales reps to keep me updated. Most are a wonderful resource. bestads: Is there enough time in the day to watch all of the incoming reels? TK: No. But I've started watching them on long flights, especially when the movie sucks. bestads: Some producers call themselves creative wranglers. A bit harsh? TK: I prefer creative partners. bestads: The producer is always the last to leave the looooong post sessions. True or false? TK: True. I've been burned by assuming something will be handled too often. bestads: Caffeine management. Any tips? TK: grande 2 pump vanilla skim latte, twice a day. No more. bestads: Who are the main culprits for blowing out the budgets? TK: Cost controllers who need to get their pound of flesh out of an already tight bid. Budgets that are inadequate for the job right out of the gate. bestads: The secret of slashing a sizeable chunk of money off the budget ... TK: Music, animation and effects are often areas that have fewer "hard costs", and can be priced very aggressively if the supplier really wants the job. bestads: Does agency producing set you up for a career in the diplomatic corps? TK: Absolutely. Especially international productions. New work for Burger King Canada through Reginald Pike![]() New work for Burger King through Reginald Pike. A couple of very amusing spots have just been completed for BK Canada through Reginald Pike, for Communication Bleu Blanc Rouge. It looks like sitting down has become an imperative for eating BK burgers. Titles: Jackhammer, Lumberjack Client: Burger King Country: Canada Agency: Communication Bleu Blanc Rouge ![]() Creative Director: Gaétan Namouric Art Director: Laura Kim Copywriter: Mélanie Delisle Agency Producer: Normand Vaillancourt Director: Brian Lee Hughes Production Company: Cinélande / Reginald Pike Producer: Sylvie Dubé Director Of Photography: Jean-François Lord Executive Producer: Sylvie Dubé Transfer: Technicolor On-Line: Buzz Editor & Company: Graham Chrisholm & Quatre Zéro Un Bob Giraldi, Director @ GIRALDI![]() We've asked a few prominent directors a round of questions for our regular section "Inside Their Heads". Inside the head of ... Bob Giraldi, Director @ GIRALDI From writing and directing classic music videos Beat It, Love is a Battlefield, Hello, and Say, Say, Say, to helming landmark advertising campaigns for Pepsi-Cola (featuring Michael Jackson and Lionel Richie) and Miller Lite (featuring Rodney Dangerfield, Billy Martin, John Madden, and Bob Ueker), and the Broadway show spots for A Chorus Line, Dream Girls, Evita, and Phantom of the Opera, Bob Giraldi clearly has had a hand in shaping popular culture. bestads: SO WHAT DREW YOU TO THE DARK SIDE...DIRECTING? BG: It was so long ago, Ive almost forgotten as I remember, I was an art director in the early 70s at Jerry Della Feminas agency where the culture was far more relaxed, but cruder we all created amongst the drugs, war protests, card-playing, and tardiness I decided to direct. bestads: DOING THE GIG...NO PROBLEM. GETTING THE GIG...HMMMM. BG: Who says doing the gig is no problem? But youre right, getting the gig is far more complex phony phone calls, ghost-written treatments, executive producer hand-holding, insincere rep relationships undeliverable promises but, at the end of the day, the client is now the most underrated factor in who gets the gig. bestads: THE ONLY THING BETWEEN YOU AND A GOLD LION IS... BG: A very large ocean. bestads: SHOOT DAYS: THE LIFE BLOOD? THE DRUG? OR ACCELERATED AGING? BG: The shoot day is still the high. Sometimes I feel like Eli Manning getting ready to go to work and learn it all for the first time. Other times I come home feeling like Mike Tyson. bestads: THE PACK SHOT THE DEVIL INCARNATE? BG: I would have an opinion if I ever stayed on set to shoot one. bestads: WHATS YOUR PERSONAL SECRET TO MANAGING ALL THE PERSONALITIES INVOLVED IN ANY ONE SHOOT? BG: I cant really say if Im successful at it, but I know one attempt that didnt work. Years ago, when asked the same question by a national newspaper about working with Michael Jackson and Paul McCartney on the same set, I said; theres only room for one star on my set and thats the director. Needless to say what happened after that. bestads: SHOOT WITH YOUR MOBILE/CELL PHONE, EDIT & POST FX ON YOUR LAP TOP, OUTPUT AS QUICKTIME, UPLOAD TO NET. BINGO. NOW IF WE JUST DISPENSE WITH THE CLIENT! WHERES IT ALL HEADING? AT THE END OF THE DAY... BG: ...Im high as a kite on the new technology and challenges but to me, itll always remain a business where if you do quality, youll do quantity...but will never work the other way around. ![]() The new Mitsubishi "King of the Hill" spot from BBDO NY shows just how intimidating a 4x4 can be. I can't help wondering if you're allowed to mention "the police" when you're working with composer/ drummer Stewart Copeland? And what's the meaning of these dust patterns at the end of the spot .... ? ![]() Chief Creative Officer: David Lubars Exec. Creative Director: Bill Bruce Creative Director: Mark Wegwerth, Christopher Cole Copywriter: Mark Wegwerth Art Director: Christopher Cole Producer: Jeff Beverly Exec. Music Producer: Loren Parkins Production Company: HSI Director: Gerard de Thame Cinematographer: Dennis Crossan Producer: Fabian Daws Editing House: Nomad Editing Company, Inc Santa Monica Editor: John Murray VFX: Sight Effects VFX Artists: Gavin Malkovich, Jason Mortimor Sound Design: Francois Blaignon Music Company: Groove Addicts, Los Angeles Composer: Stewart Copeland ![]() More impressive SFX. This time from motion theory ![]() Agency: Wieden+Kennedy Executive Producer: Ben Grylewicz Producer: Jennifer Fiske Creative Director: Steve Luker Art Director/Copy Writer: Chris Hutchinson Art Director/Copywriter: Driscoll Reid Account Executive: Alberto Escobedo/Jesse Long ![]() Impressive SFX in the lastest from Comcast![]() Ad Agency: Goodby, Silverstein & Partners Creative Director/Copywriter: Jamie Barrett Partner Creative Director/Art Director: Mark Wenneker Senior Agency Producer: Tanya LeSieur Production Company: MJZ Director: Fredrik Bond Executive Producer: David Zander, Lisa Rich Director of Photography: Stephen Blackman Production Designer: Dominic Watkins Editorial: Peepshow / Cosmos Street Editor: Andrea MacArthur Visual Effects: Method Original Music and Sound Design: Stimmüng Inside the head of Director Theodore Melfi![]() As part of our regular section "inside their heads", we put a few questions to Theodore Melfi Director @ Area 51 Films (and take a look at his spec spot "the attempt" below) 1. So what drew you to the dark side ... directing? My father always said, If you want to be something then you better be good fucking at it. Cause life dont treat failures kindly. And since I was not a good plumber, I chose the next most logical career. 2. Doing the gig ... no problem. Getting the gig ... hmmm. Shooting is icing I shoot literally all the time anything I can get my hands on that is not porn whether it be a music video, short or feature Getting the job is the job. Its all about the treatment for me. Any monkey can show up with a camera and shoot a board but can you conceptualize and strategize on paper Like all creatives must do. Can you present? Can you create on paper? We all know the job is damn near over before one frame of film runs through the gate. 3. The only thing between you and a gold lion is ... (most scripts? The client? The process ...?) Nothing. Send the boards See you in France. 4. Shoot days: The lifeblood? The drug? Or accelerated aging? Shoot days are like Prom night So much preparation So much effort Then the drinking and the afterparty then poof Its all over and youve got a few phone numbers, several best friends and a tough case of gonorrhea. 5. The Pack Shot ... The devil incarnate? Whats a pack shot? Is that a porn term? 6. Whats your personal secret to managing all of the personalities involved in any one project? Calm. Peace. Patience. Every leader needs to create an atmosphere of safety. We are going to get the job done. It is going to turn out famously. Every problem is its own solution. Every unforeseen circumstance brings us one step closer to discovering genius. 7. Shoot with your mobile/ cell phone, edit & post FX on your lap top, output as quicktime, upload to net. Bingo. Now if we just dispense with the client! Wheres it all heading? At the end of the day ... At the end of the day nothing ever changes. Just like your mother. Oh, this year Im gonna loose 15 pounds. Sure you are. And this year hi-def is going to replace film Sure it is. And this year client direct will eliminate the agency Sure it will. Heres my theory People like to say shit. And they say shit all the time. Some say shit because they truly believe shit will happen. But most say shit just to be saying shit. And since all shit rolls downhill Well Thats a lot of people getting full of shit. Good thing we have comedy. And some recent work from Theodore: Spots Title: The Attempt Click here to view the spot: VIEW Commentary from Craig Lederman, Brian Morgan, and Ted (the director). It can be a common theme in this business: frustrated creative folks banding together to shoot something on the edge... Writer Craig Lederman and Art Director Brian Morgan approached director Theodore Melfi with an idea about a young man trying to commit suicide... Utilizing the fumes of the new Toyota Hybrid Prius. "The Attempt" is an utter failure, thanks to the super low emissions of the environmental friendly Prius. Melfi directed the spot through his production company Area 51 Films (Santa Monica). Executive Producers Phyllis Koenig and Preston Lee supported the project on the heels of another commercial - the old piggy back approach. With the help of friends in the production world, the spot was edited (Frank Effron @ Cut and Run), transferred (PJ @ Company 3), mixed (Mark Meyuhas @ Lime) and then emailed to ten million people and... Here we are. Cook & Goldman to Publicis & Hal RineyPublicis & Hal Riney Continues to Strengthen Integrated Capability with the Addition of Two Award-Winning Creatives Ken Cook and Dominic Goldman to Further Heighten Creative Focus on Integration and Interactivity San Francisco, CA October 3, 2005 Publicis & Hal Riney today announced the appointments of two award-winning, senior creatives. Former head of the Microsoft team and all integration efforts at MRM Partners of McCann Worldgroup, Ken Cook joins the agency as Senior Vice President, Worldwide Creative DirectorBrand Integration. Dominic Goldman joins from Goodby, Silverstein and Partners as VP Creative Director Interactive. Both are new positions created to provide clients with a heightened level of focus on integration and interactivity, enhancing their ability to compete in todays evolving marketing environment. The hiring of Cook and Goldman closely follows the addition of brand integration specialists Jim Consolantis and Jamie King and further enhances the agencys integrated capabilities. Both Ken and Dominic are award-winning creatives who make a habit of staying two steps ahead of industry trends, said Jae Goodman, Co-Executive Creative Director. Their addition to the team shows our commitment to putting integration and interactivity at the center of the creative process. We will continue to add talent that pushes our entire team to deliver a creative product that meets our clients very aggressive business goals by reaching customers in new and powerful ways. Ken and Dom will help us create consistent, effective messaging across all media from traditional to the most cutting-edge. Cook, an 18-year industry veteran, has been continually recognized for his accomplishments across various disciplines, including marketing and communications design, packaging and corporate identity. He will report to Senior Vice President, Worldwide Creative Director, James Consolantis, and will be responsible for various disciplines as well as outside agencies and suppliers to achieve seamless integration for all Publicis & Hal Riney clients. Cooks experience developing new brands and marketing ideas that are extendable through the line will be an invaluable addition to the team. Goldman will report to Executive Creative Directors, Jae Goodman and Jon Soto, and will leverage more than 10 years of international experience to drive client marketing and branding strategies centered around interactivity. His belief that interactive should be equally deserving of big ideas as any other component will help revamp the creative process, and he will be responsible for driving that thinking throughout the organization, as well as connecting with other Publicis agencies. Advertising today isnt about taking existing ideas and tweaking them for new media; this is a fundamental shift in the creative process, said Jon Soto. Ken and Dominic will be involved at every level of the processfrom strategy through executionto make sure we're always pushing ourselves and our clients to use new media in effective ways and to rethink core ideas when necessary. ![]() Ken Cook Prior to joining Riney, Cook was Executive Vice President and Executive Creative Director of MRM on the Microsoft business, where he was integral in building the team that grew and supported that account. He was responsible for the technology giants customer relationship management and direct and interactive efforts as well as ensuring complete integration with other agencies. When Cook founded his own design, branding and design firm, Brandtank, he leveraged research and a strategic planning focus, more typical of an agency model, and combined it with new media and the latest technology to produce strategy-based, innovative and award-winning solutions for clients. Previously, Cook was Senior Vice President, Brand Design Group Head at McCann, where he spearheaded a brand redesign for the Oakland As and created the first Brand in Advertising tools designed to guide the Microsoft work globally. Hes also served as Vice President, Creative Director of Brand and Advertising at Bank of America, founded and managed his own design firm, and held various creative positions at Siegel & Gale and Bright & Associates of TBWA/Chiat/Day. Cooks work has been honored by national and international design, advertising and communications competitions such as Communication Arts, the LA Art Directors Club, One Show, The New York Art Directors Club, Society of Publication Designers and the San Francisco Show. His work has also been featured in many books and industry publications such as The Annual of the Type Directors Club, American Corporate Identity, Graphic Design USA (annual of the AIGA), The AIGA Book Show Annual, Graphis and a number of print regional design annuals. Cooks work resides in the permanent collections of the Library of Congress in Washington, D.C., and the communications archives at Columbia University, New York City. ![]() Dominic Goldman Goldman joins Riney from Goodby, Silverstein and Partners where he was Group Creative Director for a broad spectrum of businesses, including Adobe, Hewlett-Packard, Subway, Milk and Specialized. Prior to his time at Goodby, Goldman held several positions at Ogilvy & Mathers Singapore office, culminating in Creative Director and head of the interactive group. Although he delivered exceptional work for Nokia, Volvo, Levis, The Economist, DHL, SPCA, Guinness and HOG, Goldman is best known for his part in elevating OgilvyOne to the number one creative position in the worldwide network. To date, Goldman has achieved recognition for his work at numerous international awards shows, including The Clios, One Show, New York Festivals, Cannes, D&AD and Communication Arts. He has also served as a judge for many international award shows, including The One Show and The Clios. ![]() Rubin Postaer and Associates have just completed an impressive and diverse series of new spots for Honda. We'll just mention a couple of favourites here. Tail Pipe / Civic Si Agency Producer: Gary Paticoff Copywriter: Camille Sze Art Director: Nathan Crow Creative Director(s): David Smith / Joe Baratelli Director: Shynola Production Company: The Directors Bureau Editor: Shynola Music: Galang by MIA ![]() Unbearable Toll / Ridgeline Agency Producer: Brian Donnelly Copywriter: Adam Lowrey Art Director: Chuck Blackwell (VP, Associate Creative Director) Creative Directors: David Smith (Sr. V.P., Creative Director) and Joe Baratelli (Sr. V.P., Creative Director) Director: Michael Downing Production Co: Harvest Films Editor: Mark Goodman / Terminal Editorial Music: Stimmung / Jason Johnson (the now corporation) expands adds two![]() (NYC) Travis Kopach has joined (the now corporation) as Editor. Kopach, just completed his first gig at (the now corporation) A :30 Verizon Wireless spot for McCann Erickson via directing team Guard Brothers of Villians. Kopach, who also directs, recently directed two music video clips airing on MTV Europe and the US. "Isabelle" by Koufax - for Doghouse Records was just completed last week. The clips were co-produced by (the now corporation) and Prod. co., Fashion Bleeds. Jeannette Prostowich joins (the now corporation) as Editor. She previously worked as cutting assistant for Nelson Leonard and Owen Plotkin of (the now corporation). Jeannette recently cut two spots for MTV2 and four for MTV with Reginald Pike director Lena Beug. She recently cut a :30 Tylenol spot for Deutsch directed by Barbara Kopple of Nonfiction Spots. ART DIRECTORS CLUB NY - call for entries
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