“Suzanne has earned a stellar reputation spanning 15 years as a creative producer, she is loved by clients, agencies, and directors alike. We couldn’t be more excited that she’s signed on to take Bandito’s commercial division to the next level,” said Bandito’s COO Max Leitman.

“By combining top notch directors, full service post and VFX, Bandito Brothers is at the forefront of crafting efficient solutions for brands,” Hargrove said of her decision to join Bandito after years working as a top producer for directors such as Brian Beletic, Fredrik Bond, Andrew Douglas, Paul Hunter, Chris Smith, Phil Morrison, Steve Rogers, and Peggy Sirota.

Hargrove, an Army brat whose parents both served, said she appreciates the agility, creativity, and military precision of Bandito Brothers, something McCoy refers to as “creativity in action”.

“Quality has always been of paramount importance to me; I love logistics, problem-solving and the creative process,” Hargrove said. “The spot world is changing every day and Bandito Brothers has positioned itself for the future.”

In addition to McCoy and Waugh, who were recently named among Variety’s Top Ten Directors to Watch, the Bandito Brothers roster is comprised of Michael Polish, Matt Goodman, Stewart Hendler, Leo Ricagni, and Jacob Rosenberg; and director/cameramen Mitchell Amundsen and Shane Hurlbut.

Stu Wilson

Breaking from the traditional production company mold, POC is not content to maintain a roster of directorial talent; rather, it nurtures its artists through the prism of technology. POC’s communal, collaborative environment is home to gifted writers, directors, visual effects artists, coders and designers, operating under the aegis of resourceful producers. “Proof of Concept’s model speaks not only to the changing landscape of advertising and promotion but to an enduring notion that rules are made to be broken,” said Wilson, “The best ideas require pushing the envelope if they’re to be realized. That’s where POC comes in.”

The congregation of talent at Proof of Concept is comprised of Creative Directors Bob Rickert + Lonnie Weiss; Directors Josh Soskin, Justin Giritlian, Neel Upadhye, and POC Interactive; Editors Dave Gallegos and Rick Lobo; Colorist John Zaik; Design/VFX duo The Brothers Fanton; VFX + Animation Artist Pasha Ivanoff and the stellar POC Interactive Team.

Wilson’s creativity and passion for the art of visual storytelling have led to the production of numerous award-winning campaigns. He has led multidisciplinary teams in campaigns for agencies such as DDB Chicago, Saatchi, JWT, TBWA Chiat/Day and Digitas, delivering content for clients as diverse as Ford, Toyota, Nissan, GM, Coors, PlayStation, Pioneer, Seadoo, Mattel, Macy’s, Petco, Elmers, and Dupont. He founded production company Right Brain Media, Inc. (RBM) in 1995, and in 2007 immersed himself in Digital Production, Social Media and Interactive Experiential marketing via Image Lab, Inc. Wilson believes the combination of seasoned veterans and determined young innovators “is a key component in bringing even the most challenging multi-media and interactive productions to fruition.”

Raffi Kryszek

Kryszek is quickly becoming one of the entertainment industry’s most watched young producers. Paramount Pictures recently acquired screen rights to the Colleen Houck novel, “Tiger’s Curse,” which Kryszek will produce under his recently created Ineffable Pictures banner along with Mary Parent through Disruption Entertainment. Ineffable Pictures was established to oversee long-form theatrical content from inception through distribution. In addition to producing, “Fox Legacy”, which airs on the Fox Movie Channel,  Kryszek received his first Emmy nomination this year, as producer of the network’s original program “Writer’s Draft.”

“It’s our goal at Proof of Concept to establish a firm foundation of trust in the union between our people and the ideas of agencies, labels, and brands,” noted Kryszek, who maintains Clifton Production Services, the production and post solutions company he founded in 2007, as a sister entity to POC. “Innovation and experimentation are integral to our culture. We respect our audience and we pour a ton of passion and knowledge into the creation of transformative content that’s worthy of their attention.”

Thinking beyond traditional marketing platforms, POC will create content for broadcast as well as online rich media, mobile applications and other interactive platforms, devising solutions to help brands reach consumers in more compelling and unique ways.

About the Talent:

The POC talent roster is comprised of:

Creative Directors Bob Rickert + Lonnie Weiss, whose credits include the launch of the Dell XT Notepad, and the rebranding and relaunch of Century Link and Mercy Health Care. Bob Rickert comes to POC after having been at TBWA/Chiat Day, David and Goliath, Hal Riney and Partners and Weiden Kennedy;

Director Josh Soskin, who has helmed spot projects for Windows, Vitamin Water, Starbucks, and Pepsi; he began his directing career in the documentary world where he produced and directed hundreds of short docs for Current TV;

Justin Giritlian, Director of Xbox 360’s Dance Central Video, who also helmed a short Documentary for Fertility Miracles and is developing a 3D short film that will come pre-shipped with 3D Televisions; he founded a trans-media production studio to service his client Overstock.com and sold that company prior to joining POC;

Director Neel Upadhye, whose spot credits include projects for Electronic Arts, Coca Cola, Nike, Fox Searchlight, GameStop and Dragon Age 2; additionally, his Sci-Fi live action trailer for the video game “Mass Effect 3″ premiered at the Orpheum theater in Los Angeles at the 2011 Electronic Entertainment Expo. His credits also include the world premiere video for 30 Seconds to Mars “This Is War,” as well as the short film “Jay & Seth vs. The Apocalypse” (starring Seth Rogen) which later sold to Mandate Pictures. He comes to POC from EA Games;

Colorist John Ziak, who most recently worked with JJ Abrams on 2011’s “Super 8”; his credits also include the first five years of iPhone’s broadcast campaign and Apple’s “Get a Mac” campaign; he comes over from CO3;

Editor Dave Gallegos, who has edited “FOX Legacy with Tom Rothman” for the FOX Movie Channel, and cut the sci-fi short  “Incident on Highway 73″ (www.incidentonhighway73.com), on which he also served as post production supervisor; Dave moves to POC from Clifton Post;

Rick Lobo, who for more than a decade has been a Senior Editor at various post houses in Los Angeles. A two-time AICE award-winner for his comedy work, Rick edited the acclaimed documentary “Confessions of a Superhero” and has cut spot projects for Carl’s Jr., At&T, Honda, Acura, McDonalds and many more;

Design/VFX duo The Brothers Fanton, who have lent their talents to TV shows such as the Kennedy Center Honors on CBS (Visual Effects and Opening Title Sequence) and Christmas in Washington on TNT (Opening Title Sequence); The Fantons come to POC from Bentlight Digital;

and Animation Artist Pasha Ivanoff, who is currently working on 3D features “Men in Black III” and “The Amazing Spider-Man”; Pasha is also at work on the full-length animated feature “Hotel Transylvania”. Recent credits include: “Avatar”, “2012″, “Pirates of Caribbean,” “Battle: LA”, “Underworld”, “X-Men”, “Gullivers Travels”, “Knight and Day”,“The Book Of Eli”, and “Skyline”; he began as digital creature animator and character technical director at New York based Blue Sky Studios/20th Century Fox, and at Pacific Data Images/Dreamworks Animation, where he helped develop the forthcoming record shattering box office smash movie “Shrek 2” which become one of the most profitable animated movie of all times. In 2004 “Shrek 2” won the first ever Academy Award For Best Animated Feature, beating Monsters, Inc. and Jimmy Neutron.

(l-r) Albert Kodagolian, Ian Kammer

“I was immediately intrigued by Ian, because he sent his reel in the most unconventional way,” said Albert Kodagolian, Director/DP and partner in Bueno Films. “It was packaged like a cherished, aged book. The real sell, of course, was the fact that his reel is far above average for a recent graduate.” Kodagolian added that Kammer already has established a unique style and sensibility. “He is able to integrate a product into a commercial with sensitivity and intelligence,” he said, “and his work distinguishes itself among that of other directors, which in this marketplace is an indispensable quality.”

A 2010 graduate of the Art Center College of Design in Pasadena, Kammer took every opportunity during school to intern at production houses to gain hands-on industry experience. These internships expanded both his technical knowledge and familiarity with the on-set etiquette demanded of a commercial director.

“The opportunity to work with a director of Albert’s stature is wonderful in and of itself,” said Kammer. “To have him as a champion of my filmmaking is fantastic.” Himself a winner of D&AD, CLIO, Telly, and AICP Awards for his work with Levi’s, Sci-Fi Channel, and other brands, Kodagolian explained that hands-on support and guidance is increasingly rare in the industry.  “We have to get back to the practice of sharing the lessons we’ve learned, and nurturing talent to find their own path,” said Kodagolian, “so taking Ian under my wing is a real privilege.”

Kammer’s additional directing credits include the short film “Subconscious Disconnect” and a docu-short titled “Motion Blindness.”

Ian Kammer rounds out a Bueno Films roster comprised of directors John Hardwick, Nicholas Reynolds and Albert Kodagolian, who presides over the company with Executive Producers Chris Crawford and Annie Hanlon.

Hanlon had been a longtime admirer of Kodagolian’s work before he approached her about joining the company. “Albert is building a great company that reflects a collaborative effort among a diverse group of talented people,” Hanlon said. “I am excited to work with him and with Chris to build a brand that looks for talent with a unique sensibility.”

Hanlon began her career working in commercial production in Boston, MA, and went on to travel the world working on feature films with Oscar-winning actor James Caan before opening her own LA-based commercial production company TRIO FILMS in 2002. In 2006, she opened the TV production company Chromatic Films and developed a slew of reality TV projects with her partner James Tooley for networks such as Showtime and Ovation TV. Chromatic client Subaru hand-picked the company to create, produce and direct a 6-episode branded entertainment series, THE SCENIC ROUTE.

A tenure with award-winning production company GARTNER followed, after which Hanlon led the relaunch of production company The Joneses.

As Executive Producer at Bueno Films, Hanlon will be drawing additional directorial talent to the company (in addition to Kodagolian, the current Bueno Films roster is comprised of John Hardwick, Nicholas Reynolds, and Ian Kammer), as well as leading the sales force. “My primary interest is in finding talented people rather than seeking directors based on category or genre,” she explained.

Of the ongoing changes in the advertising industry, Hanlon concluded, “There’s a lot of growth and a brightness to the industry that has been lacking in recent years. Working at a boutique company is beneficial because it makes us more agile and able to adapt to the rapidly changing business models.”

“After the success of Man On Wire, I felt that the bar was set very high,” said Godfrey, “so it’s rewarding to feel that we managed to make another film to which people have responded so well. I’m thrilled that Project Nim has been shortlisted for an Academy Award.”

“Project Nim” (Roadside Attractions) is the 1970s-era story of a chimpanzee who was the focus of a landmark experiment dedicated to proving that an ape could learn to communicate with language if raised and nurtured like a human child. A story that is at once engaging, entertaining, and unsettling, “Project Nim” reveals as much about human nature as it does that of primates.

“I’ve been collaborating with James Marsh for 14 years, and I take real joy in the honest dialogue we have because we know each other so well,” said Godfrey of the collaborative process. “James is very hands on in the edit and it’s an active, intellectual collaboration as well as a purely filmmaking one.”

AMPAS branch members will select five nominees of the current fifteen, to be announced January 24 at the Academy’s Samuel Goldwyn Theater. The Academy Award will be presented at the Oscar ceremony February 26 at the Kodak Theater in Hollywood.

For more on the film, visit: http://www.project-nim.com/

Shoot Latin America Expo
Saturday Nov. 5 – 11am to 7pm and Sunday Nov. 6 – 10am to 3pm.
James Gray Gallery, Bergamot Station, 2525 Michigan Ave., Gallery D4, Santa Monica, CA 90404
(Once inside the gate of Bergamot, immediately turn left, gallery is 3/4 way down on left)
Parking is free

BMW Canada’s “Hole in the Wall” – produced by Bandito Brothers, directed by Mike “Mouse” McCoy, and edited by Bandito’s Jacob Rosenberg with VFX by partner company Cantina Creative – made the TV/Cinema/Online Film Shortlist in the Sound Design category. The spot was created via Cundari, Toronto.

Jim Haygood of Union has garnered a slew of awards and accolades for VW’s viral sensation “The Force,” and more of his Volkswagen work is being noticed by LIA. In the TV/Cinema/Online Film Shortlist – Visual Effects category is Volkswagen “Black Beetle,” helmed by Dante Ariola and created via Deutsch.

Full credits for both projects appear below.
BMW 1M Launch
“Hole in the Wall”
Credits:
Television, Cinema or Online Film: Online Film
Corporate Name of Client: BMW Canada
Client Account Director: Designer – Johan Idesjö
Agency Account Directors: Daryn Sutherland/Ranjan Gil
Agency: Cundari, Toronto
Chief Creative Officer: Brent Choi
Associate Creative Director: Raul Garcia
Copywriter: Brian Murray
Art Director: Raul Garcia
Agency Producers: Daryn Sutherland/Cherie O’Connor

Production Company: Bandito Brothers, Los Angeles
Director: Mike “Mouse” McCoy
Executive Producer: Jeff Rohrer
Producer: Ryan Slavin
Cinematographer: Vic Huber

Post-Production Company: Bandito Brothers/Cantina Creative, Los Angeles
VFX Supervisors: Sean Cushing/Stephen Lawes
Editor: Jacob Rosenberg

Sound Design Company: Dramatic Audio, Los Angeles
Sound Designer: Jamey Scott

Performer: Greg Tracy
Other Bandito Brothers: Jacob Rosenberg/Lance Holte/Sean Cushing/Stephen Lawes

Volkswagen Beetle
“Black Beetle”
Credits:
Television, Cinema or Online Film: Television
Corporate Name of Client: Volkswagen
Agency: Deutsch
Creative Directors: Mark Peters/Jim Dipiazza
Associate Creative Directors: Paul Oberlin/Matt Sherman
Agency Producer: Marisa Wasser

Production Company: MJZ
Director: Dante Ariola
Executive Producer: Natalie Hill
Producer: Gemma Smith (Post)

Post-Production Company: The Mill, London
Additional Effects By: The Mill
Animation Company: The Mill, London
Animator: The Mill

Editing Facility: Union
Editor: Jim Haygood

Also prominently integrated into the site is the team’s activity on Facebook and Twitter, as well as a ticker updating visitors on upcoming events. “There are so many ways to interact with our clients and colleagues,” said Hens, “and our goal with this iteration was to create a hub for those connections.”

The group’s sense of fun and positive outlook permeates the new site, and it is an attitude perhaps best reflected in a comment by Spooner: “Not too long ago, as the country was in the throes of a devastating recession, Madison Avenue was in complete chaos and the very week the stock market was bottoming out, Ashley, John, Stephen and I decided it was the perfect time to launch Beef Films. Best decision I ever made.”

In addition to Spooner, the Beef Films roster includes newly signed directors Alex Anderson and Seth Townsend along with Joe Schaak and Michael Pescasio. Sales representation is headed by Jennifer Hertslet (East Coast), Cathi Connor (Midwest) and Deirdre Rymer (West Coast).

“We all share a like-minded approach to work that seems a very comfortable and natural fit,” explained Colao of the move to Union. “This is a very nurturing company with no attitude, just a great group of talented people. I’ve known (Partner/Editor) Sloane Klevin for a long time, and there comes a point where the question isn’t ‘Should you work together?’ but, rather, ‘Why aren’t you working together??’”

“Some of Mike’s biggest fans are people who are part of our family, and he’s been on our radar since we opened,” said Partner/Executive Producer Michael Raimondi. “We have a roster of storytellers and feature film editors, so the timing works out perfectly, given the progression of Mike’s career.”

While Colao initially focused on highly visual, stylized editorial, his work for Cox, Jet Blue, Stella Artois, and others demonstrates an obvious talent for humor and dialogue. The editor’s range is impressive, from subtle notes that underscore the powerful imagery to performance-driven comedy. Colao also has his sights set on long form, TV and films. Working alongside Union talents such as Klevin (“Freakonomics,” “Taxi to the Darkside”) and Partner/Editor Jim Haygood (“Tron: Legacy,” “Fight Club”), Colao is in good company. Additionally, Union recently launched a full-service marketing and post production Entertainment Division and is currently at work on its second feature film project.

Colao began his editorial journey in 1997 at 89 Greene Editorial under the tutelage of accomplished editor/director Bruce Ashley.  In 2000, he joined Final Cut Editorial in opening their New York office.  After leaving FCNY in 2007, he spent one year freelance editing at some of the top NYC editorial houses, before moving to Cosmo Street Editorial in 2008.  He also partnered with Josh Litwhiler and started Dark Arts Consortium, a collective that produces and directs music videos.

Union has offices in Santa Monica, CA, New York City, and London, where it maintains an alliance with Marshall Street Editors. The company is presided over by Raimondi, Partner/Executive Producer Caryn MacLean, and Executive Producer Megan Dahlman. The Union roster is comprised of Partner/Editors Jim Haygood, Einar, Jay Friedkin,  Sloane Klevin, and Geordie Anderson, and editors Nico Alba, Jinx Godfrey, Nicholas Wayman-Harris, Laura Milstein, Marco Perez, Paul Plew, and Eric Argiro.

“We are very happy to have Ian join the team at Beef,” said Adams. “His repertoire is unique, and different from anyone else we carry on the roster. We know Ian will be a great addition given his depth of knowledge and experience. Shooting action sports and following athletes across the globe comes naturally to him.”

“The time has come for me to be a part of a team, to have access to better editorial talent, work with effects – the whole idea exchange is vital,” said Schiller of the move to Beef, and the affiliation with sister company Chop House Edit. “That is where I’m at. I feel like I’m ripe for the next step and ready to tackle whatever comes my way.”

“After graduating California Polytechnic in Business, I spent several years teaching myself design, film, anything creative that interested me,” he explained. “I quit my day job and started assisting my friends who were filming a motocross movie and started working for clients such as Fox Racing.” The work caught the eye of the marketing director at Specialized, who asked Schiller to travel to Italy and Belgium to helm a pair of ads for the company. “We almost destroyed our only camera, had no concept, no insurance, and we almost killed the world champion,” the director mused. However, one of the spots, “I am Paolo Bettini,” was extremely well-received, and Schiller was asked back several years in a row to run the entire Specialized global Tour de France campaign. “I would direct, produce, write, storyboard, assist with the motion graphics, subtitle, pouring my passion and creativity into these projects. Often with very unfriendly production budgets and ridiculous time constraints. “I’ve had to think fast on my feet and come up with logical direction quickly,” he said.

For Schiller, each directing assignment presents the potential for creating an indelible impression. “It may not be on the surface, but just below,” he said. “While I have focused on sports initially, I’ve tried to approach each spot as if it were something else – a documentary, a pretty pictures piece, a car commercial, and so on. The through-line is storytelling and my ambition is to do more narrative work across a variety of genres.”

Ian Schiller rounds out a Beef Films roster is comprised of directors Michael Pescasio, LITTLE RED ROBOT, Joe Schaak, Nick Spooner, and Danny T.