Bandito Brothers & NASCAR “Everything Else is Just a Game”
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Read More »Stopp the Presses: Anatomy of Our Hero Interactive Campaign (the best viral in the world…probably)
LOS ANGELES/STOCKHOLM, February 22, 2010 – In the two short months since its debut, “The Hero – A movie about you or someone you know” – a collaboration among agency Draft FCB Stockholm, director Max Vitali of Callboy, and interactive production company Stopp – has become one of the fastest growing virals ever. It has been viewed in over 200 countries and reached over 20,000,000 unique visitors and more than 70,000,000 page views. Already honored by the Dope Awards and FWA, the campaign is also eligible for Cannes, CLIO, Webby, D&AD, and other consideration.
Hans Moland’s ‘A Somewhat Gentle Man’ Premieres at the Berlin International Film Festival
SANTA MONICA, CA, February 15, 2010 – “A Somewhat Gentle Man” (“En ganske snill mann”), the latest film from TWC Films director Hans Petter Moland (The Beautiful Country, Aberdeen, Gymnaslærer Pedersen), had its World Premiere today in the Berlin International Film Festival main competition (Berlinale).
Starring Stellan Skarsgård, Jannike Kruse Jåtog, and Jan Gunnar Røise, “A Somewhat Gentle Man” tells the story of Ulrik, who – after twelve years behind bars for murder – emerges from prison and finds himself in an emotional maelstrom of revenge, love, and longing.
Moland embarked on his feature film career in tandem with his commercial directing career, having earned a host of various commercial honors in numerous festivals and contests including Cannes, Eurobest, Clio, Epica, I.B.F. and Mobius, along the way. This latest feature film effort underscores the filmmaker’s unique aptitude for provocative storytelling. Peter Cowie, international film historian, has called Moland “the Ridley Scott of Norway,” which succinctly illustrates that he is an accomplished, talented master of both visual and narrative architecture.
Read More »PrimalScream Music Drives Hyundai to the Super Bowl with Original Music and Sound
LOS ANGELES, CA, February 5, 2010 – Independent music company PrimalScream Music (www.primalscreammusic.com) has created original music and sound treatment for a Hyundai campaign via Innocean Worldwide/Irvine, set to air during the Super Bowl XLIV broadcast.
The ads (“Quotes” is pict., left) were directed by Ed Miller, and PrimalScream Musicʼs Nicole Dionne said her team was inspired by the reflections and angles in the visuals. “We had breathtaking imagery, true movement, and color to work with, and this helped us enhance the connection with the viewer through music. We really connected with the creative team and director on this campaign,” she noted. “We were given the room to complement with sound and music what they had achieved with the visuals.”
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About PrimalScream Music
Our purpose for each campaign is to produce authentic and sensational music branding. This requires creating an authentic message for the consumer. To accomplish this, we collaborate with a uniquely talented and esteemed group of record producers, bands, musicians, singers, film composers, programmers, as well as countless others – specifically chosen to meet the goals of each campaign. The result is an unparalleled “iPod-worthy” product that improves the brand image, communicates directly with viewers, and exceeds our clients’ musical aspirations.
At our company, original music is created, written, produced and delivered specifically to each client. Formed in 1995 and overseen by Creative Director/Executive Music Producer Nicole Dionne, PrimalScream Music has worked with a wide range of musicians and composers in all genres of music, for a diverse clientele including BMW, Starz TV Network, Visa, Sony PlayStation, Home Depot, UPS, Pepsi, Intel, Wachovia Securities and many more.
Read More »Noah Haeussner Joins Bicoastal Union as Head of Entertainment Development
NEW YORK/SANTA MONICA, January 29, 2010 – Bicoastal Union Editorial has expanded its longform and feature film services with the addition of Noah Haeussner as Head of Entertainment Development. Haeussner comes over from Level 1 Promotion, where he served as Director of National Promotions for Film and Television. Already an award-winning editorial shop whose roster has deep experience in commercials, music videos, feature films, and trailers, Union now becomes a full-service marketing and post production house in the feature arena. The company has been awarded its first project in this capacity, handling the entire marketing campaign for “Obselidia,” the feature debut from director Dianne Bell currently screening in competition at the Sundance Film Festival.
“This is a natural evolution for Union,” said Union Partner/Executive Producer Michael Raimondi. “Many of the additions to our roster over the last couple of years have contributed to this moment.” Union partner/editor Sloane Klevin co-produced and edited the Oscar, EMMY, and Peabody Award-Winning documentary Taxi to the Dark Side, for example; editor Jinx Godfrey cut the Oscar-winning doc “Man on Wire”; and partner/editor Jim Haygood (“Fight Club,” “Where the Wild Things Are”) is currently editing the feature “Tron.” Union recently completed work on trailers for high profile Television projects like HBO’s “Addiction” and “True Blood.”
“Noah is at the forefront of the current trends in feature film marketing,” Raimondi added. “From understanding film marketing theatrically and online, to experiential marketing and brand integration, he is the perfect person to help us fully exploit the talent and resources here at Union.”
While at Level 1, Haeussner developed and managed a number of online and offline marketing initiatives for films such as Speed Racer, The Dark Knight (Harvey Dent campaign), Angels & Demons, and The Taking of Pelham 123. He previously headed up the film marketing department at StreetWise Concepts & Culture (youth oriented marketing firm) where he developed and executed national campaigns for Warner Bros.’ 300, I Am Legend, Get Smart, and Paramount Pictures’ Beowulf. Roles as Marketing Manager at National Lampoon and in Public Relations with Bender/Helper Impact working with such clients as 20th Century Fox H.E. and MGM H.E., round out Haeussner’s professional experience.
Haeussner said that his background in marketing and brand integration, paired with Union’s experience in the advertising arena, makes Union’s entertainment division an ideal branding partner for studios. “My counterparts at the studios had been very interested in the notion of a one-stop shop for the marketing of their films,” Haeussner recalled. “There have tended to be a lot of middle men in this process, and we offer a streamlined vision and concept for feature marketing; we can edit your epk, do the print, create the online presence, handle offline marketing activities, and, of course, edit trailers and TV spots.”
“Obselidia” – about a man who is out of step with the 21st Century and pathologically nostalgic for things that used to be – is a film, said Haeussner, “that provides one of the industry’s top commercial post houses opportunity to open up the division with something we can really stand behind.” “‘Obselidia’ is a beautiful story that serves as an allegory for much larger issues,” said Raimondi. “It is a truly independent film from a first-time director and, of the sixteen films screening in competition at Sundance, it’s one of the few with no stars, so Union’s efforts can have a real impact on its success.”
Union has offices in Santa Monica, CA, and New York City. Its New York office opened in 2008, with Partners/Editors Sloane Klevin and Geordie Anderson, and Executive Producer Caryn MacLean. In addition to Klevin, and Anderson, the Union roster is comprised of Partner/Editors Jim Haygood, Einar, and Jay Friedkin, and editors Nico Alba, Jinx Godfrey, Nicholas Wayman-Harris, Marco Perez, and Paul Plew.
Read More »Is the ad biz ready for a music house that’s the real deal? YEAH’
Grammy nominated artists Chief Xcel and Lateef the Truthspeaker launch new music house for commercial production
SAN FRANCISCO, CA, January 29, 2010 – When was the last time you heard about a company that racked up an array of impressive work before it even opened? AFTER creating original music for Adidas, Microsoft, and McDonald’s, and licensing tracks to Apple, Coca-Cola, and GMC, to name a few, record label Quannum decided they should probably open an actual music house for the ad biz. The result is YEAH’, which launches with a roster of diverse and accomplished artists turning out ad music and sound design to complement their influential longform work. Via Blackalicious, Lifesavas, General Elektriks, and others, the YEAH’ crew brings to brands a dedicated and discriminating audience drawn not by imitators but originators. At press time, no fewer than three projects had recently been awarded to YEAH’, for Axe, Ford, and US Cellular.
“The seeds were planted in 2005, when Microsoft asked us to come up with an original composition to air during the Final Four broadcast,” explained YEAH’ and Quannum co-founder Xavier Mosley (pict., far right), aka Chief Xcel, producer, writer, composer, arranger, and a founding member of Blackalicious. Mosley is a GRAMMY nominee this year, for Best R & B album, as a producer on Ledisi’s “Turn Me Loose.”
Feedback from Lyle Hysen of Bankrobber Music, the company that represents the label’s licensing operations, and contacts at Grey, Ogilvy, and Saatchi, was very encouraging and it seemed many brands were interested in connecting with Quannum artists for original works. “As time went on, we started getting more and more requests for original comps from really big brands. Eventually the light bulb clicked on and we thought, ‘Hey why not make a separate company solely dedicated making music for film, TV, and internet?”" recalled Mosley. Noting that working with recording artists can be challenging for clients and agencies, he added, “We had another asset, which was that we provide great service, great quality, reliably and efficiently. So we had a feeling we might be on to something.”
“We make original, authentic music that connects with audiences on a sincere, peer-to-peer level. The sound presents a context that people can identify with – there is nothing fake, or forced about it. We provide the genuine article,” said YEAH’ and Quannum co-founder Lateef Daumont (pict., left). Known as Lateef the Truthspeaker, the GRAMMY-nominated Daumont is a member of bands Maroons and Latyrx, and a frequent collaborator with Fatboy Slim. “We are artists out in the world, on tour; we are active artists influencing the curve and bringing an audience to commercials and film. Our goal is to give the client what they need while staying true to our audience.”
Of the current climate in advertising, Mosley commented, “It’s great that music can be so integral to the advertising process and there are so many platforms now for distribution, it’s like being a painter and instead of just canvas you have all these other mediums to paint on.” “Our audience is web-based, and we sell most of our records on the web, so that’s a medium we understand particularly well,” Daumont added.
“A comment we’ve heard over and over is that our spot tracks sound complete, like full-length compositions,” said Daumont. “That’s a rare skill among composers and it’s one that our artists possess. For a 3 or 4 minute song, there is a story, a structure, and a way to keep it interesting,” he noted. “You have the opportunity to build up to your point, and repeat phrases. In original compositions for spots or with sound design, you need to get to the point. It’s a skill we’ve been refining over the last nine years, making sure that we hit a note that’s memorable and resonates with the viewer.”
Diversity is also a strong suit at YEAH’. “Quannum made a conscious decision early on to be branded as much more than an indie hip-hop label,” Mosley pointed out. “It’s a destination for good music, from samba to dance rock to electropop. Even within hip-hop, where we have our roots, our sound is changing as we grow and evolve with the times.”
“Our roster is 15 artists deep, with critical acclaim within each of the genres,” Daumont concurred. “We can attack music briefs with authenticity and confidence, because it’s music that we already produce, not music we are trying to create, and that is appealing to agencies and brands.”
About Quannum
With over 2 million records sold, Quannum was first conceived in 1991 by the artists Blackalicious, DJ Shadow, Lateef the Truthspeaker, Lyrics Born and the journalists DJ Zen (Jeff Chang) and Jazzbo (Joseph Patel), under the moniker Solesides Records. The SF-based outfit became Quannum in ’97 and is one of the nation’s top independent labels. Shadow’s “Entropy” and Blackalicious’ “Alphabet Aerobics,” as well as Latyrx’ “Lady Don’t Tek No” and “Balcony Beach,” Lifesavas’ “Spirit in Stone,” and Lyrics Born’s masterpiece “Later That Day” and the follow-up remix project “Same !@..$ Different Day” are all products of the Quannum culture. These, and such diverse artists as Sao Paulo’s Curumin, vintage keyboard guru General Elektriks, the electronic hip-hop duo Apsci, LA-based Pigeon John and Bay Area skateboarding legend Tommy Guerrero all bring their talents and fan base to the new venture.
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Web Advertising Site Launches Featuring Pete Erickson, Who Connects with the Truck Buyers in All of Us
TRAVERSE CITY, MI, January 25, 2009 – “There’s a new truck buyer out there, and a whole world of Web-based automotive advertising, and I want them to connect,” said Northern Michigan native Pete Erickson, whose work will be featured in the launch of WebSpotCentral, a new dedicated to Web-based commercials. While the site will showcase a variety of spots, the genuine, no-nonsense approach and passion Erickson brings to online videos has resonated with truck fans in particular. Complementing his commissioned work, Erickson’s experimental online videos include “The Road Less Traveled” about the Ford F-150. Even before Erickson’s spec work appeared on www.WebSpotCentral.com, versions of the videos – even rough edits without a soundtrack – made their way onto YouTube, in some cases garnering upwards of 440,000 views.
Long-considered a working man’s vehicle, trucks got a bad rap for a while and were deemed gas-guzzlers. Erickson wanted people to understand why trucks are inherently socially responsible and remain part of this country’s fabric. “The truck market isn’t necessarily about cup-holders and luxury. Trucks are a working asset to people who own them,” said Erickson. “It’s amazing what is under the skin when you take that truck apart.”
Erickson has done a good deal of work for automotive brands and agencies, but his experimental adventures in advertising confirm that there is a broad audience for his particular brand of online video production. “American car companies are getting that their customers are evolving,” the director observed. “The market for trucks has changed – men, women, rich, poor – and while the product is more technologically advanced than in previous generations, advertising has to connect with the core truck buyer in all of us.”
In “The Road Less Traveled,” the director takes the Ford F-150 over one of the most grueling test roads in the world. “This spot offers straight-up Ford toughness and no special effects – just a truck, a camera, and a 3/4 mile stretch of hell,” Erickson said. “Let the pictures tell the story.” He credits Sean Wilson, producer, and Jay Dalton, product expert, for helping realize his visions. On-camera car expert Rick Titus appears in Erickson’s videos, adding another layer of gravitas. The pair previously collaborated on the wildly successful “The Truth About Trucks” video series created via marketing firm Jackson Dawson.
For his part, Erickson believes truck buyers are especially interested in what goes into the building of their vehicles, and he’d like to see more of that in commissioned online advertising and video production. “If you’ve ever been in a car factory, you know that for truck drivers THIS is the story,” he stated. “You walk into the factory at 7 in the morning and this bare steel frame is put on the assembly line…and by 3:30pm it’s a truck.” Erickson explored that concept in “Birth of a Truck,” an online video he created for Ford and which enjoyed popularity on an official site about the Ford Super Duty truck.
Erickson actually came to directing through another passion: sports. After graduating from Ferris State University, he convinced the school to let him put together a 16-station college hockey network. The endeavor was an unqualified success, and soon he was directing live sports for all the major networks. Erickson’s work for NFL Football caught the eye of Detroit’s Ross Roy Agency, one of the original agencies for Chrysler. Working with the agency, he said, “I set a standard for how I like to work – clean, simple, relevant, and if I use visual effects they’re seamless.” Work for diverse clients such as Ford, GM, Mercedes Benz, McDonald’s, Cunard, Nicole Miller, Amnesty International, Dell, Miller, and American Airlines took him from the Pyramids to the great Wall of China. Throughout, Erickson said, one thing remained constant – his substantive connection with audiences. “If there’s no substance, all the style in the world doesn’t matter,” he explained. “So much emphasis has been placed on the glitzy, glamorous imagery created by the big production companies, but in some cases I think it’s misfired. The Web offers the purest connection between consumer and product, because in one way or another they’re seeking out this content. And isn’t advertising about giving people what they want?”
Erickson is currently at work on a commissioned viral piece for an undisclosed automotive client. “It’s a very quirky project, with a real sense of fun,” is all the director would say about the subject matter. “For all its amusement value, though, it’s presenting the facts, and that’s what works for me,” Erickson concluded. “I’ve always made it a priority to establish credibility with the audience. Whether it’s for the Ford F-150 or something else entirely, I use directing and online video production to tell stories people like me would be interested in.”
Deirdre Rymer to Represent Arsenal FX
SANTA MONICA, CA, January 11, 2010 – Special effects and finishing boutique Arsenal FX has secured Deirdre Rymer of BlushLA for exclusive representation in the West Coast & Texas markets.
Read More »SWAY Studio Adds Executive Producer Jason Cohon, Director of New Business Addie Hall
CULVER CITY, CA, January 8, 2010 - SWAY Stu
dio has added two key staff members to its team: Executive Producer Jason Cohon, and Director of New Business, Addie Hall. Cohon most recently served as a VFX producer at Asylum. Prior to joining SWAY, Hall was as an Account Executive at Ascent Media, with a hand in both marketing and sales for Method Studios, Company 3, and Encore Hollywood.
"My goal with SWAY is to continually expand the role of digital technology in our industry," explained Mark Glaser, owner and creative director of SWAY Studio. "Jason and Addie bring professionalism, experience, and forward thinking to key leadership roles at SWAY. Their energy and excitement has been a positive influence already."
Jason Cohon
Cohon, whose career spans an agency tenure as well as live action and VFX production, grew up in Oregon with the best film education around: rain. Having to stay indoors for the better part of his childhood, Cohon said, he "became obsessed with all genres of film, including commercials." With this in mind, he embarked on his education at Loyola Marymount University in Los Angeles. After a couple of detours, including minors in Japanese and German and a year abroad in Japan, Cohon began his 15-year film career in earnest at ad agency Rubin Postaer and Associates.
In 1997, Cohon transitioned into the experiential arena, producing everything from stunts to live concerts. Joining Digital Domain in 2004, Cohon became the studio’s go-to live action commercial producer. This eventually morphed into VFX producing, first at Digital Domain and then Asylum, where Cohon had the opportunity to work with some of the top innovators in the industry such as Joseph Kosinski, Rupert Sanders, McG, and Malcolm Venville, and clients including Coca Cola, Ford, Microsoft, BMW, VISA and Disney.
Cohon brings a unique perspective to the studio, having straddled both sides of the production divide. In coming aboard to helm SWAY, he said with a smile, "The downside to running such a busy studio is that I`m not able to go surfing every day. My goal is to make SWAY so successful that Mark doesn’t have time to go surfing, either."
Addie Hall
A Tennessee native and Pepperdine Graduate with a BA in Advertising and Sociology, Hall’s diverse career began with a 2-year stint selling advertising to small businesses. She next took a job with prestigious design studio, Prologue Films. "It was just a start-up in Kyle (Cooper)’s Malibu home. There was no shortage of challenges there. I did everything from to ordering toilet paper to PR to writing creative treatments for pitches," she laughed.
Hall went on to do freelance marketing and brand consulting for names such as the Shrine Auditorium, Byron by Byron Williams, and Madison Hildebrand of Bravo’s Million Dollar Listing. She transitioned into post-production at VFX house R!OT, working in business development and marketing under Managing Director Michael Taylor. When R!OT merged with Method Studios, Hall moved into an Account Executive role at Ascent Media corporate, where her role was a collaborative effort to manage the marketing and sales for Method Studios, Company 3, and Encore Hollywood.
"It feels very nice to be back in an independent studio…a place where my ideas are easily put into motion," Hall said. "Mark has built a studio that fully encourages creativity and innovation, which is a difficult thing to maintain for a company that’s been around as long as SWAY." When asked what challenges this new role will bring, Hall replied, "We stay very busy here with auto work, which is great because we excel in that arena; however, part of my new role is to let people know that we do much more."
About SWAY
SWAY studio is among the premier animation, effects, and design studios in North America. Dedicated to advancing the artistry of visual content while pursuing fresh creative ideas across multiple media platforms, SWAY’s world-class creatives use cutting-edge, innovative technology to produce unforgettable imagery.
SWAY Studio recently completed virtual stunt driving work for the feature "2012," directed by Roland Emmerich ("Independence Day," "The Day After Tomorrow"). This involved driving a stretch limousine over devastated and shifting road surfaces created by an apocalyptic earthquake using the physics-based simulation within the proprietary Drive-A-TronTM. The film opens nationwide November 13. Other recent credits include a project for the new Lexus HS250h Hybrid, campaigns for the 2010 GMC Terrain and 2010 Ford Taurus, interactive content for HyundaiGenesis.com and HyundaiUSA.com, and the groundbreaking hi-tech cover shoot with Kanye West for the April/May 2009 issue of Complex Magazine.
Read More »Universal Images Wins Best-in-Show at 3rd Annual ‘D Show’ Awards
DETROIT, MI, December 9, 2009 – Venerable visual effects and post-production house Universal Images took Best-in-Show honors at the third annual ‘D Show’. In a ceremony held December 2 at the Max M. Fisher Music Center, UI was honored for its work on the History Channel’s "The Art of War," which received a nomination in the CGI/Animation category. Additionally, Universal Images won The Craft Award for "Battle B.C.," another History Channel presentation.
"As the complexity of the work grew, we expanded our toolset to meet it," said UI’s said UI’s Christopher Wirth
When it comes to longform, Universal Images itself has been delving deeper "into the action." Well-known for its work in commercial post-production, specifically the automotive advertising field, UI has completed more than twelve hours of non-fiction entertainment programming in this past year. Based on roughly 40 minutes of VFX created by UI for its "Journey to 10,000 B.C.," the History Channel awarded the UI team 8 one-hour episodes of "Battle B.C.," followed by "The Art of War."
"It’s wonderful to be recognized for our work in this arena," said Wirth, "and it’s an especially gratifying feeling to bring work into Michigan." Wirth added that the artists at UI bring their experience in advertising to their longform work. "We’re accustomed to high expectations, quick turnarounds, and other constraints, while keeping our focus on the creative aspect," he said. "We’re now also taking our skill set from TV and applying it back into commercials, so it’s always evolving, regardless of the medium."
In addition to the work for which it was honored, Universal Images brought its skills to the creation of the D Show opening sequence, employing an augmented sculpture technique that has been in development at the company. UI team members Dan Land and Gabriel Hall have created the opening for all three D Shows, beginning with the innaugural event in 2007. The D Show celebrates outstanding work done by the Detroit advertising community and the local creative community at large.
