"Gunfighters," from director Scott Betty, suggests that a gunfight may not come down to the fastest draw - but the cleanest lungs. The spot is a top five finalist in the California Department of Health's "Beareelhero" contest, and is expected to air soon.

"Gunfighters"
Executive Producer/CopyWriter/Director: Scott Betty
Producer: Nancy Wong
DP: Peter Thomas
Production Designer: Chris Forsberg
Post Production: Zen Film
Editor: Ross Wells
Colorist: Chris Martin, Spy Post
Talent: Michael Ray Wisely, Malcolm Brownson
Voice Over: Ross Wells

Producer Steve Reiss from Sea Level sent us this new spec, which shows how Toyota's Prius hybrid turns the table on pollution. The ad was directed by Michael Moretti via Spotlab.

As an aside, we think it's great that so many people are experimenting with green brands and products. Now, where's the spec spot for The Hempest?

Client: Toyota Prius
Spot Title: "Unlitter"

Agency: Saatchi & Saatchi, Los Angeles
Copywriter: Mark Tripp
Art Director: Jeni Stewart

Director: Michael Moretti
DP: Graham Futerfas

Vfx & finishing: Sea Level VFX
Lead Flame Artist: Christopher Noellert
Executive Producer: Steve Reiss

Ab5trax blew us away with this inventive, entertaining spec spot, which chronicles the extraterrestrial origins of the Toyota Prius.

"Hello George" uses awesome effects to take you on an outer space journey that will leave you exhilarated - and impressed by what can be accomplished when a limited budget meets unlimited imagination.

Production Company: Ab5trax
Director/Writer: Ryan Apuy
Executive Producer: Hunter Woo
Graphics: Ab5trax

"With this spot I wanted to create something where meaning and story could be conveyed purely through lens choices, framing, lighting, and performance," says Director/Writer Dominic Lahiff of his Advil spec spot. "I also thought it would be interesting to depict a pained mind state. After some research I settled on devising a spot for Advil Migraine."

According to WebMD, the defining features of a migraine are:

1. Dull, thudding pain
2. Stiff and aching neck
3. Nausea
4. Photophobia (extreme sensitivity to light)

By visually representing each of these respective migraine symptoms, the spot takes the viewer on a journey mirroring that of the migraine sufferer: Diopters, bendable mirrors, an old-school flashbulb gun and Arri's Timing Shift Box were used to create these increasingly nightmarish effects. The confined location, tight framing and long-lenses were intended to convey the subject's psychological claustrophobia. Kino-Flos and flickering increasingly painful strobe- lighting add to the air of physical discomfort and mental pain.

"As always, I was aided in the process by the abundant talents of Cinematographer Chris J. Lytwyn and editor Lucas Howe," Lahiff nores. "Particular praise must go to Lucas in this instance as it was his staccato edits which created the spot's rhythm and his sound-design which really crystallized the subject's pain. Hats off also to actor Trae Hicks who withstood cameras, lenses and flashing paparazzi strobes at close range and still delivered an emotionally-affecting performance."

For a higher-res version please visit: http://www.dominiclahiff.com  

Advil "Reverse Undo"

Director/Writer: Dominic Lahiff
Production Company: www.dominiclahiff.com
Cinematography: Chris J Lytwyn
Editing: Lucas Howe
Graphics: G M D THREE 

While attending an industry conference last year, we began asking ourselves if the term PR really conveys what we do within the ad biz. For my part, living in Hollywood, "Publicist" has a very specific connotation; red carpets, couch-jumping, going pantiless or multi-sexual for the paparazzi. In the corporate and political sectors, "Publicists" are more about spin and damage control, focusing on public perception as relates to viability or electability, or both. With rare exceptions (Cannes, the Clios, and anywhere else damage control might come in handy), we have a very different set of objectives for our clients, and we were in pursuit of a term that captured the style and scope of our endeavors.

The term Image Broadcasting was suggested by our brilliant Chief Technology Officer, Justo Diaz. "In today's competitive marketplace it's imperative that we take a fresh approach to how branding works," he said to an audience impressed in equal parts by his passion and his track record on Alexa. "People Google each other while dating, certainly you Google a company you are working with or for...Think about how the environment is changing. We must make the leap so that others follow. Our model must reflect a new paradigm in PR, Advertising, Marketing and Brand Building."

It was only later, over drinks, when the crowd was long gone, that the term Image Broadcasting poured out of his mouth (I said he was brilliant, I didn't say he had killer timing). Anyway, he nailed it. Our stated objective within the advertising and commercial production community, is to do for our clients what they do for theirs: communicate their brand, their message, and their art, to the trade and extended media. This spans the full spectrum of branded creative content, spanning traditional and alternative media, from broadcast and print advertising, to viral marketing and client-sponsored film & TV projects. We make this work and news available to the "audience at large" - that vast readership comprised of trade reporters and editors, ad agency creatives and producers, production and post-production personnel, bloggers, and more. In addition, we provide expert Internet technology and a full menu of Web marketing services to clients seeking to heighten their visibility - and their Google-ability. Developing a client's image, and raising their profile, not just via trade exposure, but on search engines as well...this is Image Broadcasting. Right?

The reality, however, is that coining a new term takes time. And going all in on a phrase no one else uses is not something we'd advise our clients to do. So we're taking it slow, following our own advice, using Public Relations in our descriptive language, and making ourselves available when that Gutter Bar video hits YouTube. The cool thing about "evolution" is that it doesn't have to happen overnight. And when it does happen, if it's pervasive enough, it can start a revolution. So we've got that going for us. Which is nice.

To circle back around and answer the question posed in our chosen title... Of course you do. We all do. I wanted to call this piece "Image Broadcasting: A PRevolution?" As article titles go, that's pretty good. It's catchy and maybe even clever. Trouble is, it flies in the face of everything we know about SEO♣. And as important as SEO is to brands, advertisers, and marketers, it is equally important to those of us seeking to disseminate the messages of ad bizzers.

So I compromised - cleverly. ;-)

What I like about my orginal title is that "Revolution" suggests radical change, and the advertising industry is undergoing a radical change as we speak. "Evolution," should you choose to read it that way, suggests the progression from one stage to another, and that certainly is apt; as the world changes around us, we can resist, or we can open our eyes - and our minds - and leap to a new platform. 

So, while we're waiting for the new term to catch on, let's get the ball rolling, and take the leap together.  

-HR

♣Search Engine Optimization (SEO) is the process of improving the volume and quality of traffic to a web site from search engines via natural ("organic" or "algorithmic") search results for targeted keywords.  

Director Troy LaFaye sent in this advertising experiment, which offers that rare glimpse into the life of the lonely ninja.

While it parodies the popular "Save The Children Foundation" PSA, this spec has its merits: Winner of the Best Film of Minneapolis Film Race 2008, "Why Should You Care?" was produced by students and faculty of the Minnesota School of Business Digital Video & Media Production program. So, in the end, our youth has the last laugh.

Credits:

Director: Troy LaFaye
Producer: Jon Otto
Videographer: Skylar O'Flaherty
Editor: Jon Otto, Mike Cunniff, Troy LaFaye
Graphics: David Combs
Written by: David Combs, Mike Cunniff, Troy LaFaye, Geoff Lenort, Sky O'Flaherty, Jon Otto, Spencer Peter
Starring: Spencer Peter, Stephanie Chan, Luke Moran, Jon Otto, Mike Cunniff, David Combs, Manda Sisco, Troy LaFaye
Narrated by: Adam Windemir

There's something fun and playful about this latest spec commercial for Doritos. "Got a Chip on Your Shoulder" was directed by Tom Edwards for the advertiser's video competition, and has a rough and tumble feel - literally. "I like the edginess," comments RA Director of Web Marketing Justo Diaz. "I'd like to see how this would do if marketed as a branded viral."

The following email is published here in memory of the great George Carlin (May 12, 1937-June 22, 2008):

The paradox of our time in history is that we have taller buildings but shorter tempers, wider Freeways, but narrower viewpoints. We spend more, but have less, we buy more, but enjoy less. We have bigger houses and smaller families, more conveniences, but less time. We have more degrees but less sense, more knowledge, but less judgment, more experts, yet more problems, more medicine, but less wellness.

We drink too much, smoke too much, spend too recklessly, laugh too little, drive too fast, get too angry, stay up too late, get up too tired, read too little, watch TV too much, and pray too seldom.

We have multiplied our possessions, but reduced our values. We talk too much, love too seldom, and hate too often.

We've learned how to make a living, but not a li fe. We've added years to life not life to years. We've been all the way to the moon and back, but have trouble crossing the street to meet a new neighbor. We conquered outer space but not inner space. We've done larger things, but not better things.

We've cleaned up the air, but polluted the soul. We've conquered the atom, but not our prejudice. We write more, but learn less. We plan more, but accomplish less. We've learned to rush, but not to wait. We build more computers to hold more information, to produce more copies than ever, but we communicate less and less.

These are the times of fast foods and slow digestion, big men and small character, steep profits and shallow relationships. These are the days of two incomes but more divorce, fancier houses, but broken homes. These are days of quick trips, disposable diapers, throwaway morality, one night stands, overweight bodies, and pills that do everything from cheer, to quiet, to kill. It is a time when there is muc h in the showroom window and nothing in the stock room. A time when technology can bring this letter to you, and a time when you can choose either to share this insight, or to just hit delete...

Remember; spend some time with your loved ones, because they are not going to be around forever.

Remember, say a kind word to someone who looks up to you in awe, because that little person soon will grow up and leave your side.

Remember, to give a warm hug to the one next to you, because that is the only treasure you can give with your heart and it doesn't cost a cent.

Remember, to say, 'I love you' to your partner and your loved ones, but most of all mean it. A kiss and an embrace will mend hurt when it comes from deep inside of you.

Remember to hold hands and cherish the moment for someday that person will not be there again.

Give time to love, give time to speak! And give time to share the precious thoughts in your mind.

AND ALWAYS REMEMBER:

Life is not measured by the number of breaths we take, but by the moments that take our breath away.

If you don't send this to at least 8 people....Who cares?

George Carlin

We're "Feeling" very amorous after watching this new spec spot for Durex directed and animated by Anik Rosenblum. The ad features a simple, imaginatively executed concept that was inspired by the song "Don't You Want Somebody to Love".

"Love is something that involves our senses, and is a natural stimulant," says Rosenblum. "Love is being alive. Using this concept to advertise condoms is a bit of a joke, but the idea is to lend fun and energy to the Durex brand."

With this beautifully executed spec commercial for Nike, director Dominic Lahiff conveys the pivotal role the brand has played in sports history - past, present, and future.

Read on, for the full story from the director:

"Both spots were written by me and were shot on a low-budget using the same crew who are all friends of mine. The first spot- Past Present Future- was an idea I had whilst watching the movie Marathon Man- to link three generations of Nike athletes through the framing device of a single race. In order to create the idea of fluidity, continuity and passage of time I knew that the camera had to move in tandem with its subject- All the practical footage was shot from a motorbike and sidecar- rig running along the track parallel to the athlete.

"Beginning with an actor playing Steve Prefontaine- Nike's first sponsored athlete- I found out a 30 year-old but still functional pair of Nike track shoes on e-bay and then recreated the rest of his look using old photographs and movie references. The actor portraying Prefontaine- Emanuele Ancorini- was an active participant in this process growing the correct mustache and sideburns and allowing me to color his hair with golden paint. I kept the framing on this past section tight by using long-lenses in order to highlight the individual runner and the small scale of Nike's origins in Beaverton Oregon. The green and gold color scheme was created both in-camera by my highly-talented dp- Chris J Lytwyn-and in post. Chris and I modeled the look after a famous book of William Eggleston photographs from the 70s. Finally in order to really emphasize the idea that this section was taking place in the past film scratches, grain and dust were added in After Effects.

"The present day section features Gayson Kewley playing a modern day Nike Olympian victor. I was able to buy the exact track spikes which Nike sprinters wore in the last Olympics. The running singlet was a little more difficult as these are made exclusively for the Olympic team and are not commercially available. However I was lucky enough to know a very- skilled costume designer- Liza Marzolf- who constructed me an exact replica for only $60.00!!. The framing on this section was a little wider to indicate the extent of Nike's growth and their influence on the world stage. Lacking a budget for extras I had hoped to throw the audience sections of the stadium into darkness using only flashbulbs to suggest a packed crowd. However when we arrived at the location we discovered the practical lighting was not controllable to this degree. It was at this point my VFX artist G M D THREE came to the rescue painstakingly rotoscoping each frame of the moving footage and replacing the empty stadium with a virtual audience complete with individually nuanced crowd members. The flashbulb guns we had shot were augmented to become larger explosions of light which helped to transition from present to future.

"The future section was created entirely through CGI. A detailed model of a cyborg-athlete was modeled using numerous references from movies, Japanese art and comic books. This was them painstakingly animated frame-by-frame using a combination of Gayson's running cycle ,videos from Getty Images and a variety of stills. Camera positions and movements, an intricate futuristic stadium and mobile light-beams were then added to create a high-tech yet plausible vision of Nike's future. None of this would have been possible without the immense talent and generosity of G M D THREE whose vision and dedication to the project is apparent in every frame.

"Last but not least, coherence and fluidity was brought to the piece by the prodigious talent of my editor Lucas Howe."

Director/ Writer: Dominic Lahiff
Production Company: www.dominiclahiff.com
Cinematography: Chris J Lytwyn
Editing: Lucas Howe
Graphics: G M D THREE