VENICE, CA, June 22, 2009 - Integrated production company Sabertooth has signed directing collective Display Purposes Only: DPO (aka Conrad Jackson and Conor Colwell ) for exclusive US spot representation. Each an award-winning filmmaker in his own right, Jackson (pictured top) and Colwell (pictured bottom) have come together to develop new perspectives in visual storytelling. Their online piece “Skater Ollie” has garnered 2.2 Million hits on YouTube (to date), and recently was featured on MSN’s homepage, where it generated over 300,000 hits in a single day.

Jackson broke into the business as a writer while attending film school at Loyola Marymount University, selling his senior thesis to ABC; the project landed in the primetime roster and ultimately made Jackson the youngest African American to create a prime-time show for ABC. Colwell’s creative history is rooted in visual effects and cinematography. He has shot everywhere from the deep jungles of the Philippines to the war-torn streets of Iraq, where he developed and DP’d “Brothers At War,” a film hailed by the AARP as “categorically the best war film, documentary or fictional, ever made.”

“Sabertooth is a content company, and the first conversation we have with an agency is about how to realize their vision,” said Creative Director/Founder David Cullipher, who launched the firm in 2008. “This process can originate with live action, CG or interactive, but in the end we’re here to bring awesome creative content solutions to the table.”

“These guys are tremendous at brainstorming creative ideas with agencies, and at bringing a boarded concept to life in a way that will grab attention across the web,” said John Busenberg, Executive Producer at Sabertooth. “Clients are continually pursuing the holy grail of a workable formula for web content that propagates itself virally. DPO infuses this conversation with an impressive mix of imagination and skill.”

“The shift to a free-flowing digital environment gives advertising a new beast to tame,” the directors stated. “Advertising must become so appealing that it is viewed as entertainment first, and as a commercial second.”

To demystify the process of creating effective viral content, DPO created a half-hour overview presentation for Sabertooth’s agency clients, “There’s so much demand for viral marketing, it’s great to be able to share with clients that there is both a science and strategy behind how best to position their work for success,” Cullipher said.

Busenberg points to projects such as Evolve “Magnet” as an example of DPO’s ability to craft sophisticated content while keeping their eye on audiences’ tastes. Composed from over 2400 stills, the piece is a meticulous blend of live action with a stop motion technique, gracefully narrating the passage of time and changing trends. “The camera never stops moving, even as the frame is constantly shifting – it’s a single shot that tells the story of 30 years inside of a minute,” he said. “It’s really a unique and visually compelling spot, and that’s quintissential DPO. They are independent, they are smart technical filmmakers, the end product is very polished, but there’s an inherent edgy rawness and disruptive intelligence to the work that really makes it distinct.”

“We have smiles from ear to ear,” the directors said of their decision to join Sabertooth. “We’re looking forward to creating progressive material and seizing all of the opportunities to learn from this group.” Referring to 2017 Pacific, the integrated production collective comprised of Sabertooth, Film Realite and Restless Films, they were equally sanguine. “This is an ideal environment in that it possesses the foresight needed to adapt traditional marketing and production methodologies to the evolving digital media landscape. With their support, we’re thrilled by the challenge to help define a new age in advertising and production strategies.”

About Sabertooth
Based in Venice, CA, Sabertooth is a collective of designers, directors, VFX and interactive artists dedicated to creating amazing work. We are medium agnostic, flowing between interactive, film, video, online, print and broadcast. Creatively restless, we continually seek new methods and techniques to improve ourselves and our work. We treat clients as partners, and believe that great work in any medium results from the dynamic creative collaboration that takes place between idea and execution.

NEW YORK CITY/VENICE, CA, June 19, 2009 - Jean Scofield has joined bicoastal music production company Mophonics as a staff Creative Producer. Most recently, she served in a similar capacity at BBDO/NY. Vivacious and imaginative, with a keen organizational sense, Scofield has found her own niche creating partnerships with agencies, music houses, production, editorial & design companies.

"Jean understands the transitions happening in advertising and media," said Mophonics Executive Producer/Founder Michael Frick, noting that Scofield's perspective and broad experience presents the perfect complement to its current endeavors. "We take a very aggressive and experimental approach to music marketing and what a music company can be to a client."

"Mophonics is a company that doesn't simply create or license music, but seeks to foster relationships between music creators and brands," said Scofield. "I've always aspired to infuse the traditional perspective with collective interaction and creative solutions. At Mophonics, we have the resources to do that with inspiration and enthusiasm. We build presentations in a fresh style, presentations that I would have really appreciated when I was on the agency side."

Born on the day MTV made its debut, Scofield grew up in New York City's West Village surrounded by musicians and artists. With a world-renowned musician for a father and an industrious manager and producer for a mother, she had an innate aptitude for balancing the creative and the administrative. While pursuing a double major in Music Business & Communications at NYU, Scofield interned at labels (Warner Brothers, Universal) and music PR Firm Nasty Little Man. Immediately after graduation, she worked at prominent international stock-music company, before transitioning to the ad agency side as a Music Producer at BBDO/NY. Scofield spent nearly three years at BBDO, serving as the music producer on a trio of award-winning short films launching Brazilian flip-flop brand Havaianas, and as one of two music producers handling all of the audio needs for AT&T. She next freelanced as a music producer, track director, music supervisor and creative director for music companies such as Mophonics, before joining that team full-time.

As more advertising agencies operate without music producers, Scofield has been able to bring structure and originality to a wide range of projects, and she's proven effective as a satellite resource for out of town and international companies. A performing musician and audiophile herself, her knowledge, experience and industry relationships are vast, defining her as a current, authentic resource.

"Growing up, music was a way of life, and an actual language.  I learned that a tremendous amount of meaning and feeling can be communicated through audio," Scofield said. "When paired with visuals, music and sound create extremely powerful and evocative moments. I believe in Mophonics' foundation of breathing new energy and talent into the music house idiom. They are committed to fostering relationships among musicians, brands, visionaries, and consumers through diverse and inspired music and sound."

About Mophonics

Forward-thinking and firmly situated at the intersection of the music and advertising industries, Mophonics counts Wieden & Kennedy, BBH, TBWA/Chiat/Day, BBDO, McCann Worldgroup, and Goodby Silverstein & Partners among its agency clients and has created music-driven cobranding intiatives for Apple, Visa, Verizon, Scion, Wrigley's, Electronic Arts, Axe, Nissan and Nike, and more. Mophonics is the only company to create an original single, "Gimme That," for an Apple iPod campaign. Artist Zeroleen's "All Good," has been featured in "CSI: Miami," "Weeds," multiple film trailers and ad campaigns for Verizon and 24Hr Fitness; the single also received airplay on specialty radio, retail outlets, and in-flight radio. Mophonics-produced band Four Fifty One was featured on NBC's "Friday Night Lights" and in a 4-spot Wrigley's campaign that featured Mophonics-produced artists; the band also played a 40-gig sponsored tour for energy drink Upshot. Mophonics artist Joey Ryan has had tracks featured in spots for Visa, Wrigley's, Wendy's, and UNICEF's LA Tap Project, in the Toronto Film Fest's People's Choice Winner "Bella," and TV's "One Tree Hill"; Mophonics produced and released Ryan's 2009 EP, "As It Must Be." The Mae Shi, repped by Mophonics for original compositions and sync, was a strong presence at SxSW in 2009, with placements in Rockstar Games Midnight Club LA (MCLA) and in the award-winning indie "My Suicide."

SANTA MONICA, CA, June 16, 2009 - Open on a delivery room, in the final throes of deep labor. The mother gives birth, and the doctor informs her that she is the proud parent of...a teenager. The tense exchange that follows perfectly illustrates the parent-teen dynamic, and the strength required to raise a child.

With "One Powerful Mother," his new PSA for Partnership for a Drug-Free America via Martin Williams, iconic director James Gartner does not employ heavy-handed messaging about drug abuse. Rather, he uses his deft storytelling skills to fry bigger fish: the responsibility of the parent in steering their children in the right direction.

"Nowadays, we're not parents anymore, we're buddies," Gartner explains. "There is no separation, and I think it's really dangerous and irresponsible. We end up hurting our kids when we behave like that. 'Because I said so' is a valid answer for a parent, and it's just not said enough anymore."

Gartner says that his greatest hurdle with "One Powerful Mother" was the casting. "The concept is really terrific, it's a fresh idea without being over the top," the director says, "and from the moment I got the boards I loved it. Once I found the right actors to play the mother and son, it was smooth sailing."

While the delivery room set-up is executed with the dead-on timing and precision expected from a director of Gartner's stature, the spot helmer himself views the exchange between the teen boy and his mom and the PSA's most critical element.

"When shooting something of this nature, the worst thing you can do is be too ambitious for the restraints you have," says Gartner, whose eponymous production company produced the spot pro bono. "I work backwards, asking 'What do I need for the payoff' and working back from there. In this case, having this kid roll his eyes at his mother and having her answer back with an authority that impacts him was the payoff."

Client: Partnership for a Drug-Free America
Spots Title(s): "One Powerful Mother - Birth"
First Air Date: week of June 15, 2009

Agency: Martin Williams
Chief Executive Director: Tom Moudry
Group Creative Director: Julie Kucinski, David Richardson
Director of Production: Stan Prinsen

Production Company: GARTNER
Director: James Gartner
DP: Tom Olgeirsson
EP(s): Don Block, Rich Carter, Elaine Behnken
Producer: Jane Thompson

Editorial: Arcade
Editor: Paul Martinez, Kim Bica
Editorial EP:Damian Stevens

Music: Beacon Street Studios
Producer: Andrea Lavezzoli

Shoot Location: Los Angeles

BURBANK, CA, June 8, 2009 - AlphaDogs recently provided post services on the documentary "Bring Your A Game," directed and produced by Mario Van Peebles via his MVP Films and the Twenty-First Century Foundation. Addressing the educational crisis in America and its relationship to the penal system, the film explores the experience of young black men and seeks the insight of prominent Black male icons ('A' Gamers) from diverse fields. Van Peebles uses a hip, computer-generated video game-style world as the backdrop for the narrative. 

AlphaDogs did the online and color correction for "A Game" - and for "Fair Game," a 72-minute documentary companion piece geared toward a broad adult audience, working in Final Cut and COLOR. Brian Hutchings did the Color Correction and editor Rosanne Tan handled all aspects of online and Final Conforming. "We face some challenges with the green screen and effects that are rare for a documentary," Tan recalled. "It was an imaginative and meaningful project, and we're very proud to be associated with it."

"Without exaggeration, AlphaDogs has far exceeded all of my expectations," said Karen Williams, Producer
of "Bring Your A-Game," noting that the company had come highly recommended by director of photography and co-producer Scott Billups. "Not only is the on-line team highly skilled, each person I encountered at AlphaDogs was incredibly generous, affable, accommodating and hugely supportive of both our creative vision and social mission."

That mission is to connect with an audience comprised of young people aged 14 and up - particularly Black males most at-risk for dropping of high school. Interviewees - or 'A' Gamers - relate their personal stories of success and setbacks and the role education has played in their journeys. Actors (Jamie Foxx, Chris Rock), Directors (Spike Lee), Educators (Cornell West), Rappers (Ice Cube, Lupe Fiasco), Political Figures (Cory A. Booker), Activists, Community Leaders ("the 3 Doctors"), Poets, and many more lent their time and talents to the film, which drives home the message that graduating from high school - and educational achievement in general - are key components in a young person's quest for success and fulfillment.

VENICE, CA, May 27, 2009 - Bicoastal music production company Mophonics is partnering with UK-based licensing firm Sync Inc. to represent its diverse catalogue of record labels and artists for film, TV and commercials in the US market. "Sync Inc.'s roster is at the forefront of independent music in Europe," says Mophonics Creative Producer and Music Supervisor Josh Marcy, "and many of the artists are finding a broader audience here in the US, where there is always demand for new talent."

While artists such as Mr. Scruff, Burial, and Tosca might not be household names, they resonate with people in the know, and are not all that far from the mainstream consciousness. The Qemists, for example, provide the soundtrack for one of the official "Star Trek" trailers; snagging $76 million-plus in its opening weekend, and garnering extremely positive reviews, few movies are more broad in their appeal. At the same time, some of the artists on the Sync Inc roster may still be untapped for broadbased exposure. "I've found amazing music in this catalogue across every genre, from cutting edge electronic to Hawaiian country to rock," said Marcy. "A great catalogue will have real depth, with its quality being a constant."

Marcy notes that many Sync Inc. artists, such as the Long Lost, hail from Los Angeles. "It's not a question of whether they come from this side of the pond or the other, it's about their relevance and value to music supervisors," he says. "Whether you're looking for a legendary band like Primal Scream, or something brand new that's completely on the edge, the catalogue is gold to people who appreciate good music."

Sync Inc. is the brainchild of Dave Philpot and Matt Kaleda. Marcy and Kaleda began exchanging music tracks over IM, after meeting three years ago. Many of the tracks were incorporated into music supervision pitches and opened the door to new business opportunities. Says Kaleda, "Mophonics was our first port of call for a US partner, as they completely understand our business philosophy and share our love of diverse, cutting edge music."

"The partnership with Sync Inc. complements what we do as a music company and broadens the range of services we offer our clients," says Mophonics Executive Producer/Founder Michael Frick. "We're making this music available not only to advertising clients, but to film and television markets, which is something we've not done previously with an entire catalogue of labels." He pointed out that Marcy has always looked to the imports in general for new music and has had success placing UK artists in ads for Pepsi, Intel, and others.

"The Mophonics connection to the UK music runs deep," Frick adds, "not the least of which is the fact that two of the company's partners are British. Above all, it's a great place to find breaking acts and songs as-yet unheard in the US." "British artists are consistently top among the most innovative and exciting in the world," Marcy concurs.

Marcy has been delving into Sync Inc.'s impressive catalogue, looking for elements that best suit Mophonics and its clients. "I'm unearthing band after band, album after album - it's staggering what a great A&R job Sync Inc has done building their roster," he concludes. "The reel is sick, and the artists are amazing."

For more info, visit http://www.mophonicsync.com

About Mophonics

Forward-thinking and firmly situated at the intersection of the music and advertising industries, Mophonics counts Wieden & Kennedy, BBH, TBWA/Chiat/Day, BBDO, McCann Worldgroup, and Goodby Silverstein & Partners among its agency clients and has created music-driven cobranding intiatives for Apple, Visa, Verizon, Scion, Wrigley's, Electronic Arts, Axe, Nissan and Nike, and more. Mophonics is the only company to create an original single, "Gimme That," for an Apple iPod campaign. Artist Zeroleen's "All Good," has been featured in "CSI: Miami," "Weeds," multiple film trailers and ad campaigns for Verizon and 24Hr Fitness; the single also received airplay on specialty radio, retail outlets, and in-flight radio. Mophonics-produced band Four Fifty One was featured on NBC's "Friday Night Lights" and in a 4-spot Wrigley's campaign that featured Mophonics-produced artists; the band also played a 40-gig sponsored tour for energy drink Upshot. The Mae Shi, repped by Mophonics for original compositions and sync, was a strong presence at SxSW in 2009, with placements in Rockstar Games Midnight Club LA (MCLA) and in the award-winning indie "My Suicide."

About Sync Inc.

In May 2008, Dave Philpot (Cup Of Tea Records, Skint Records) and Matt Kaleda (BBC TV, Ninja Tune Records, Warner Music UK,) decided to pool their resources. Over 20 years of industry experience, an absurdly long contacts list and wide-reaching eclectic musical tastes were all factors in setting up Sync Inc., now firmly established as one of the more forward-thinking, boutique Music Consultancy/Sync Agencies around. Working alongside like-minded record labels such as Ninja Tune, !K7, Hyperdub, Skint, Sunday Best, B-Unique, and Cheap Thrills, Dave and Matt have placed music and consulted on huge advertising campaigns such as Nokia 'Comes with Music', Nokia N Series, Hugo Boss, Nike, Sony PlayStation, Bacardi and Chrysler, as well as music supervising on a handful of UK indie films and primetime BBC TV Drama series such as "Moses Jones."

BURBANK, CA, May 27, 2009 - "Extreme high-speed filming techniques present certain challenges in post, but we also get to work with really great footage that we would never see otherwise," says editor Herrianne Cayabyab of leading post house AlphaDogs, which is now on its second season of the Discovery Channel series "Time Warp."

In the show, MIT scientist and teacher Jeff Lieberman - along with digital-imaging expert Matt Kearney - uses the latest in high-speed photography to turn events both usual and unusual into a thing of both beauty and learning.

AlphaDogs was chosen to handle the series due to their reputation for high quality workmanship and attention to detail. AlphaDogs' efforts for the project include up-resing, finalizing effects, creating titles, making deliverable - captures, importing, rendering, and color correction.

"This is a really fun show, and it's all about the visuals, so it takes some work to get to the finished image," Cayabyab explains of the entirely-HD program. "Whether it's drop-outs that need to be fixed, stuttering in the frame, or adjustments in saturation, in the end our goal is to capture the beauty of the action and help Jeff convey the scientific lesson in the episode."

"Time Warp" airs Wednesdays, at 8PM ET/PT.

SANTA MONICA, CA, May 26, 2009 -  Bicoastal Union and Marshall Street Editors, London, have announced a reciprocal arrangement through which one will house the other for projects on opposite sides of the Atlantic.

In addition, Marshall Street's Jinx Godfrey ("Man on Wire," Sprint, Nike, American Express) will now be represented by Union in the US. Godfrey had previously been repped stateside by Filmcore.

In January, the firms collaborated on JC Penney's Spring 09 campaign. The project was edited by Marshall Street Editor/Owner Tim Thornton-Allan, who cut on location on location in LA and completed the spots at Union's New York office. The campaign debuted on the Oscars and is airing now.

"Tim was really impressed with all the staff and the service Union provided whilst he was there," said Kath Sawszak, Managing Director of Marshall Street Editors, adding that the company had been researching US affiliations for quite a while. "Very soon after, we decided to formalize our relationship with Michael and Union. I will be travelling back and forth between London and New York to meet agency and production contacts and build relationships over that side of the pond."

"When Tim and I sat down in Los Angeles, we realized we had the same philosophies as far as business goes," said Union Partner/Executive Producer Michael Raimondi. "We are both talent-driven companies that recognize creative over profit. That is the foundation of our relationship."

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, Nicholas Wayman-Harris, Adam Jenkins, Pablo Piriz, Jinx Godfrey, and Paul Plew.

In addition to Thornton-Allan, the Marshall Street Editors roster is comprised of Editor/Owner John Mayes, and editors Kate Owen, Spencer Ferszt, Charlie Roberts, Quin Williams, Jinx Godfrey, and John McManus. SJ O'Mara is staff producer.

Created via agency Jump Company in St. Louis, the spot focuses on NASCAR HomeTracks, something of a minor league for racecar drivers. Not only is HomeTracks the training ground for virtually every professional NASCAR driver, it is where families share their love of racing and participate, whether or not they're going for the gold. "There's a feeling of history behind everything, all the big names started here," says Russell, who is repped for spots by GARTNER. "At the same time, HomeTracks is all about the community, and the sacrifice made for the love of the sport. It's the sweat and tears without all of the glory that comes with professional racing. This is a more touching, more grounded view of NASCAR than what we're used to."

Russell cites the main driver in the spot, a man named Philip Morris, who is 43 with a full-time job, as emblematic of the HomeTracks atmosphere. "He's not dreaming of going pro," notes Russell, "but he's out there doing it because its what he loves - like someone playing on the company softball team." Like Morris, all the people featured in the spot are non-actors. "There are always variables when you are working with large groups of real people," Russell explains. "In this case, it all worked in our favor; the people were so comfortable in their own environment, and they took direction well - and sometimes didn't need direction at all. As a director, my job was to be there in the moment, and capture it."

Russell chose to do a director's cut, he says, because "I loved the cuts that went to air in terms of their handle on the history, but I thought there was something deeper on the 'regular people' side of the story." Russell presented his cut to the agency, which encouraged him to show it. "I'm very appreciate of the support I've received from Jump and NASCAR," he says. "I'm also grateful to Craig at Crew Cuts, who saw exactly what I wanted, to Roman Zietlin for his beautiful score; as soon as I heard it, I knew it would make the spot."

Client: NASCAR
Spots Title(s): Explanation (Director's Cut)
First Air Date: Original spot aired February 2009

Agency: Jump Company
Creative Director: Mike Conway, Bob Harris
Art Director: Mike Conway
Copywriter: Bob Harris
Agency Producer: Mark Dickman

Production Company: NASCAR in-house
Director: Jeremy Russell (repped by GARTNER)
DP: Al Francesco
EP(s): Don Block, Rich Carter, Elaine Behnken, Annie Hanlon
Producer: Michael Flanagan

Editorial: Crew Cuts
Editor: Craig Holzer

Composer: Roman Zietlin
Sound Designer: Tim Leither

Shoot Location: North Carolina

CULVER CITY, CA, May 8, 2009 - Bandito Brothers has signed director David Neham for exclusive US spot representation. With notable spot projects such as Above the Influence "Fitting In" and "Shoulders" (McKinney Silver/NC), and SFR "Walking Letter" (Leg/Paris), Neham has built a reputation for bringing wit, intelligence and dazzle to his work. He holds an MFA in Film from Pasadena's Art Center College of Design and has twice been a finalist in the shots/CFP-E New Director Showcase in Cannes.

"Bandito is excited to bring David into our film family," said Bandito Brothers Executive Producer Jeff Rohrer. "This is an extremely thoughtful and hard-working bunch at Bandito, and we feel that David will fit in well. We're also a forward-thinking shop, with much of our work taking the job all the way through post in-house. David's distinctive style is complemented by his ability to perceive and enhance what works well creatively in today's market."

Of his directing style, Neham said, "Comedic whimsical work is what I strive for, but when the VFX things come along sometimes the work takes a new direction. I like work that skews reality a bit, but leaves a question mark as to whether we accomplished it practically or in post. I'd rather keep the mystery alive than be known for effects." He added that "the business of advertising, it seems these days, is more than ever the business of entertainment and storytelling. Working hard, along with others, to get the cool, funny, or odd exactly right, is something I love almost as much as pizza or Justine Bateman."

Following his graduation from Art Center, Neham shopped his reel around while he worked in pre-production, collaborating with directors at SMUGGLER, Believe, Backyard, Savant, and Biscuit. A Mini Cooper spec spot he directed, "Lobster," earned him his first inclusion on the shots showcase shortlist.

Neham partnered with one of his former classmates, Trevor McMahan; under the moniker Warren Julius, they helmed a SMUGGLER-produced video for the band Menomena's "Rotten Hell." The clip was nominated for the PLUG Award in 2007; "Have Fun," a cut-down version the pair created as a spec for Tide, was included in the shots showcase. "The band gave us their blessing as long as it didn't go to air," Neham said appreciatively. Represented through Rabbit, the pair directed a number of projects, including the ATI campaign and "Idle Hands," a music video for Sub-Pop artists The Gutter Twins. When Warren Julius disbanded in October 2008, Neham was open to finding a new home. Once he met with Bandito Brothers Executive Producer Jeff Rohrer, CEO/CD Mike "Mouse" McCoy, and Partner/Director Scott Waugh, he knew he'd found it.

"You walk into the place, and you get their authenticity and sense of purpose," said Neham. "Bandito is new, exciting, and clearly structured to tackle the present and future in ways others haven't even begun to consider yet. Not only do they have their hands in the mix across the entire ad and film spectrum, they've been building a unique name and brand for themselves from the start. Plus, two words - director's tent!"

In addition to Neham, McCoy, Waugh, the Bandito Brothers roster includes Jacob Rosenberg, and directing teams Gentlemen and Teton Gravity. Bandito Brothers is represented by Unique of Little Gypsy for special projects and on the West Coast. Kitty Monaghan and Kelly Halpine of Monaghan+Halpine rep the company in the Midwest. Lori Youmans of Lori & Company reps Bandito in the East.

LOS ANGELES, CA, May 8, 2009 - Director Rob Feng has signed with Savant Film for exclusive US spot representation. Prior to joining Savant, Feng was a Director/Art Director with acclaimed production house Brand New School, where his shared spot credits included projects for American Express, Microsoft, and New Balance, among others.  

"It quickly became clear to us that Rob is a smart and driven young director, and we feel his wealth of experience is perfectly complemented by an exceptional personal taste-level," said Executive Producer Jamie Miller, who presides over Savant with fellow EP Joby Barnhart. "He offers a new dynamic to the Savant roster, and we are very pleased to be welcoming him on board."

Feng cited American Express "Pinkberry" as emblematic of the work he loves to do as a director. "That spot began as a graphics thing and we made into a live action puzzle," he recalled. "It really opened my eyes to how much you can do with live action, and inspired me to approach directing jobs differently."

Feng's interest in harnessing clever techniques to tell stories has been apparent from the start. While earning his degree at the USC School of Cinematic Arts, his internship at Digital Domain led to a PA stint involving pyrotechnics, miniatures and motion control for feature films and theme park attractions. He then became a Digital Coordinator on a few shows before moving on. Not one to settle into one way of doing things, or even one thing to do, he also co-founded the popular online music collective Dublab, which celebrated its 10th anniversary last year.

"This is a move I have been wanting to make for a long time," Feng concluded, "and I'm excited to be doing it in collaboration with Savant Film."

AMEX "Pink Berry" - Rob Feng, co-directed with Brand New School 

CULVER CITY, CA, May 6, 2009 - Bandito Brothers has secured boutique agency Nicholas Berglund for exclusive representation in Europe. The Paris-based firm represents and manages high-end commercial directors to provide creative solutions to a network of international clients.

"Bandito is extremely excited to partner up with Nicholas," said Bandito Brothers EP Jeff Rohrer. "We share a passion to work hard and deliver on jobs. Nicholas has built his reputation on quality and artistic insight and we are proud to share a common path."

"I have joined forces with Bandito Brothers to push the boundaries further, dramatically and dangerously," said Berglund, who was introduced to the company through Rohrer. "I know Jeff from way back and value his experience and knowledge in the industry. As soon I met these guys, I was attracted to the team spirit that they work in and the diversity of what they can do. The work spans from humor to high action, they adapt easily to any situation, and have the ability to scale to any job."

Nicholas Bergland - also known as "nb:", an abbreviated form of the latin term "Nota Bene," to "take notice" - will rep a notable Bandito roster comprised of CEO/CD Mike "Mouse" McCoy, Partner/Director Scott Waugh, CTO/Director Jacob Rosenberg, director David Neham, and directing teams Gentlemen and Teton Gravity. This complements the present nb: roster of directors Anders Hallberg, Bo Platt, Charles Mehling, Eric Hillenbrand, Henrik Hansen, Jan Gleie, Jan Wentz, Kasper Wedendahl, Kim Geldenhuys, Markenfilm, Markus
Walter, Pierre Winther, Sebastien Chantrel, Sega, Superfad, Timo Schadel, and Werner Damen.

A 20-year veteran of the ad industry, Bergland stated that he loves the idea of bringing the band together and the synergy that this produces. "We all share a passion for our profession and are able to bring together our individual experiences to make a strong family. Like 'brothers from another mother'," he mused. "These guys have so much enthusiasm and energy, which I love; they are professional and I see potential in who they are, where they are as a company and what they are doing."

In the U.S., Bandito Brothers is represented by Unique of Little Gypsy for special projects and on the West Coast. Kitty Monaghan and Kelly Halpine of Monaghan Halpine rep the company in the Midwest. Lori Youmans of Lori & Company handles East Coast representation for Bandito Brothers.

Bandito Brothers is a full-service media company and a creator, producer, manager, and distributor of audio-visual content whose capabilities include full in-house HD post.

VENICE, CA, April 29, 2009 - Award-winning commercial and documentary director Jeff Feuerzeig has joined RESTLESS for exclusive US spot representation. Feuerzeig, who won the Best Director prize at the 2005 Sundance Film Festival for his documentary "The Devil and Daniel Johnston," counts IBM, WalMart, and Budweiser among his commercial clients.

Feuerzeig began his career as a film editor via Red Car, New York, before taking the helm as director. He quickly became known for his ability to elicit compelling performances from real people, and for his distinctive narrative ability. With "Johnston," Feuerzeig rewrote the rules of documentary filmmaking, crafting an arresting and sometimes devastating film as entertaining as it is heart-rending. Released theatrically by Sony Picture Classics, the film was lauded by critics the world over, including Desson Thomson of the Washington Post, who said, "Devil leads us into that dark, uncharted valley where evil, genius, divine inspiration, insanity -- and other unfathomable mysteries -- commingle," and Rolling Stone's Peter Travers, who said of the director, "It's the way Feuerzeig walks with him (Daniel) on the line between creativity and madness that digs this haunting and hypnotic film into your memory."

Feuerzeig's earlier films include the feature documentary "Half Japanese: The Band That Would Be King" (1994) that the Chicago Tribune said was "The funniest Rock ‘n Roll movie since This is Spinal Tap" He recently completed writing "God Bless Tiny Tim," a feature biopic about the legendary singer who Tiptoe'd Through the Tulips in 1968.

RESTLESS production partners: Sabertooth, Film Rèalitè - www.2017pacific.com

BURBANK, CA, April 29, 2009 - Leading post house AlphaDogs provided post-production services on "PORT OF LOS ANGELES: A Four Part Documentary Series - The History of America's Busiest Port (1542-2008)." The film had its premiere screening Sunday at The 6th Annual Los Angeles Harbor International Film Festival in San Pedro, CA.

"The Port of Los Angeles series had a huge scope, covering several centuries of development," said Russell Frazier, who designed the main title for the series. "Fortunately the Wilkmans had done exhaustive research, finding hundreds of historic stills, illustrations and clips to choose from. About a hundred of them made it into the main title, along with pristine HD aerial shots, which conveyed the massive energy - and even some of the fun and personal sacrifice - which has gone into making our busiest port." 

"One challenge was to convey just how much the physical layout and scale of the port changed over the decades," said Sean Williams, VP of Design at AlphaDogs. "I worked closely with John and Nancy to create animated maps that would clearly illustrate the port's growth, while using photographic backgrounds to subtly introduce a visual sense of the changing harbor. Accurately recreating maps for eras before aerial photography and modern surveying proved especially challenging, but the Wilkmans' research and archival resources were invaluable in achieving the result we were looking for."

Additional members of the AlphaDogs team who contributed to the project were Terrence Curren, who served as online editor and colorist on two of the four segments, and Rosanne Tan, who was the online editor for the remaining two portions. Brian Hutchings was the colorist on those segments.

Non-linear style Telecine Boutique's Roster Comprised of Colorists Bob Festa, Clark Muller, Beau Leon, Adolfo Martinelli, and Marcelo Aprile

SANTA MONICA, CA, April 24, 2009 - Founders/Principals Bob Festa, Clark Muller, and Darby Walker have officially launched New Hat, a non-linear style Telecine boutique with a roster comprised of colorists Festa, Muller, Beau Leon, Adolfo Martinelli, and Marcelo Aprile. Carla Pagi is Sr. Producer at New Hat.

First work out of the gate includes projects for Cisco (Agency: O&M, Editorial: Lost Planet), Blackberry (Agency: Leo Burnett Chicago, Director: Joseph Kahn, Editorial/VFX: Stardust Studios), and Chase (Agency: mcgarrybowen/NY, Director: Michael Haussman, Editorial: Spotwelders/Robert Duffy).

"We have all worked together for a long time," said Executive Producer Walker (pict., center, bet. Festa & Muller) of the principals' shared history at Ascent Media's Riot. "The chemistry and common background had all the makings of a great new company, so we decided to build one."

"New Technology mixed with talented workmates makes for a powerful cocktail," noted Festa, 2004's Commercial Colorist of the Year in da Vinci Systems Master Colorist Awards competition. From the original Levis 501 Blues campaign to Alfa Romeo "Hollywood," for which he was a 2007 HPA Outstanding Colorist finalist, and a 2009 Super Bowl spot for Jay Leno's new 10pm series, Festa has long been established as one of the most accomplished colorists in post production.

According to Walker, New Hat offers a new level of film scanning efficacy and unlimited color correction. "The industry has moved away from linear color-correction," she stated. "We offer true non-linear, random access workflow, and since we cater to a tapeless client base, we are poised to service any data based delivery such as web delivery and film outs." New Hat's facility is outfitted with Spirit 4K's, a 300 TB SAN, Pandora's Revolution and Filmlight's Baselight, among other specifications.

Muller, most recently a Senior Colorist at Riot, and previously at 525 Studios Hollywood, also served as Head of Telecine at Video Post/Hong Kong, and Director of Telecine at Complete VIdeo/London. Known for landmark adidas and Infiniti campaigns with director Andrew and Stuart Douglas and Nico Beyer, respectively, his recent work on Cisco Systems (Tarsem, dir.), Lexus (Harold Einstein, dir.), and Gregory Colbert's acclaimed traveling art exhibit, "Ashes and Snow," continue to imprint Muller as a leader in his field.

Leon, who comes to New Hat after a successful run as Partner/Colorist at The Syndicate, is a four-time MVPA Award-winner, who, like Muller, was formerly on staff at 525. At New Hat, Leon is reunited with his Riot compatriot Walker. His latest work is a diverse mix of spot, music video, and longform projects, including HBO (Noam Murro, dir.), Kings of Leon (Florida Sigismondi, dir.), Chase Bank (Michael Hausman, dir.), and the documentary "Sister Corita."

Martinelli joins New Hat from GTN/RingSide Creative, where he oversaw the rebuilding of the Telecine department, transforming it from a traditional tape based workflow to a tapeless environment. He began his career at Riot, where his background as a DP and editor were critical in helping him bridge the gap between production and post. 2008's Digital Vision Colorist of the Year, counts a launch campaign for the Lincoln MKS via Y&R/Team Detroit and Burger King "Angry Onion" via Crispin Porter Bogusky among his most notable work.

Aprile got his start at Riot in 2002, becoming a colorist in 2006. He has built a diverse clientele, with projects for Chevy, Coca Cola, LA Times, Mervyns, Toyota, Farmers Insurance, Mercury Insurance, and DTS 7.1 audio. On the music video front, Aprile has lent his talents to an array of artists, including Jakob Dylan, The Shins, Rocco Deluca, Sea Wolf, Jem, Devendra Banhart with Natalie Portman, and Black Eyed Peas.

Pagi began her career at Atlantic Video and Henninger Media Services in Washington, DC, before relocating to LA, where she produced for Sunset Post, Hollywood Digital West, and Riot. She had moved back east after departing Riot, and returned to Los Angeles specifically to join the team at New Hat.

Walker's experience began in production and editorial, before focusing on Telecine at Encore Santa Monica. She enjoyed a nine-year tenure at Riot, first as producer, and eventually as Executive Producer. "When Clark asked me if I wanted to partner in a company and Bob Festa was joining us in the venture, I couldn't say no," she concluded. "Now Beau and I are reunited after seven years, and we have this brillant team...it's a very exciting time."

Formerly of Villains, she comes to GARTNER with over a decade of experience working in multi-media advertising, from print to television to branded content. Wingert noted that her signing with GARTNER reflects both her confidence in the leadership - Partners/Executive Producers Don Block and Rich Carter - and her excitement to be part of a solid team. "They have their eye on where the business is going and are equipped to venture into new territory, unafraid," Wingert said. "This energy and focus is very appealing to me, and it's more important than ever as the landscape of the advertising world evolves." 

"Theresa is an amazing addition to the GARTNER roster," said Executive Producer Annie Hanlon. "With a background in photography and graphic design, she’s unconventional in her creative approach to commercial projects - she finds a unique view for every job she does."

Originally from the Pacific Northwest, Wingert spent time as a printmaker in the fine art world before moving into photography and eventually embarking on her career as a filmmaker. Her background includes a variety of visionary creative projects, ranging in genre from illustrating and publishing a childrens book to a host of gallery exhibits featuring intaglio and monoprint works on paper. Wingert expanded into narrative storytelling within her filmmaking career, directing a series of short films. Her most recent piece, "The Lookout," featuring Richmond Arquette and Rodney Rowland, opened the Miami Short Film Festival this year. She has also stretched her creativity by directing a host of branded content pieces, most recently a series of web-episodics sponsored by Proctor & Gamble.

"Over the last couple years it has been wonderful to travel and direct globally," Wingert said. "It definitely sharpens your senses to work within unique cultural environments." This perspective comes after recently shooting an international spot for Hyundai in the Canary Islands of Spain, as well as an OCBC Financial spot in New Zealand, and a DBS Bank spot in Singapore though Ogilvy Asia.

BURBANK, CA, April 20, 2009 - Leading post house AlphaDogs recently welcomed more than 75 attendees to yet another successful Editors' Lounge event at its Burbank facility. Moderated by industry author Debra Kaufman, the panel included 2-time Oscar^TM-nominated film editor Billy Weber, veteran television editor and post-producer Glenn Morgan, Emmy^TM-nominated television and trailer editor Carol Streit, and seasoned finishing editor and colorist Terence Curren.

(Pict., left to right: Billy Weber, feature editor; Terence Curren, finishing editor/colorist; Glenn Morgan, reality TV editor; Carol Streit, trailer editor; Debra Kaufman, moderator )

"The objective was to have all the major fields of the craft represented," said Curren, who is CEO & Founder of AlphaDogs. "The discussion was great, and as a panel we were able to bring our diverse perspectives together to offer a comprehensive look at where the art of editorial is headed."

Launched in 2003, the Editor's Lounge is a contemporary forum and networking opportunity for post-production professionals, featuring the hottest product demos and insight into the latest trends in post.

"I always thought there should be a non platform specific group just for editors," Curren recalled of his decision to launch the Lounge. "I realized I should just start one. AlphaDogs had the space to hold meetings, and the idea was to create a forum for editors to meet and network, share tips and tricks and keep up on the latest trends in our area of expertise."

The next Editor's Lounge event will take place May 1, and will be the group's sixth annual post-NAB wrap-up panel.

NEW YORK/SANTA MONICA, April 17, 2009 - Adam Jenkins of bicoastal Union has completed work on "Fastest Mexican," a spec film for Yahoo! Hot Jobs. Jenkins - who has cut spot projects for Samsung, Sprite, NASCAR, and Sprite, among others - wrote, directed, and edited the off-beat piece, which tells the story of Jose Fernando, a pizza delivery guy who may just be the "Fastest Mexican" in NYC. 

"I was walking down the street having just finished a beer commercial," recalls Jenkins, whose Lucky Beer spot - also shot on spec - is now playing before sporting events in stadiums in Australia. "I saw this young Mexican guy delivering something on his crappy old bike, and the smile on his face was priceless, he was so happy. I just though it was awesome and wanted to relate it in a film."

"I began with the notion that he was incredibly fast," says Jenkins, "but from a budgetary perspective that proved impractical so I embraced the notion that he WANTS to be really fast and the BEST at his job." In the lead, Jenkins cast a pizza delivery man from his neighborhood, and shot run and gun style over the course of a single day as his subject raced around New York City.

"There were four of us in the crew, it was a fun - and fast - shoot," Jenkins says. "When it comes to post, separating yourself from what you wanted, versus what you got, is challenging. I was fortunate, in that every day people come into my bay facing that very dilemma." 

Of the many hats he wore on the project, says Jenkins, "The writing is the hardest part. Ultimately, directing and editing is easy...once you get it right on paper."

VENICE, CA, April 13, 2009 - Mophonics artist Joey Ryan recently participated in Tap Project Radio, a collaboration among DJ's, musicians, celebrities, and music lovers to raise awareness and donations for UNICEF and their efforts to provide clean drinking water to the 900 million people worldwide with no access to it.

The project went live Wednesday, March 22, World Water Day, and ran throughout World Water Week (March 28). The mission of Tap Project Radio is to raise $10,000 - enough money to help 10,000 kids get 40 days of clean drinking water.

"While we consider water to be free and take it for granted, it is literally impossible for kids around the world to get it. So it makes so much sense to charge $1 for tap water at restaurants and use that money to provide water to kids who need it," said Ryan (pict., r.), whose relationship with the organization began last year, when the artist lent his music to an LA Tap Project PSA. Ryan's music has also been used in ad campaigns for Wrigley and VISA, and he has written exclusive songs for Wendy's, Cheerios, and Telefonica. Two of his songs, "Light On," and "No One Else Like You," were featured in the indie feature "Bella," winner of the 2006 Toronto Film Festival People's Choice Award. Two more, "Loving You" and "As It Must Be," appeared on the hit TV show "One Tree Hill" in 2008. Ryan's debut EP, "As It Must Be," was released by Mophonics April 7.

For Tap Project Radio, diverse playlists were chosen by various participants. The programs included interviews with David Droga, and various creative directors from participating Tap agencies, along with UNICEF celebrities, representatives and volunteers. These interviews informed listeners about the Tap Project, asking them to make a donation (via the website or "Text for Tap"), find a participating restaurant, and so forth. Throughout, DJ's, guests and celebrities touted the Tap Project and encouraged listeners to "Text for Tap."

In addition to Ryan, and Mophonics EP Michael Frick and CD Stephan Altman, Guest DJs included: Kenna, OK GO, Dandy Warhols, Black Rebel Motorcycle Club, G-Love and Special Sauce, Rilo Kiley, Ghostly Records, Schuyler Fisk, They Might Be Giants, Grand Duchy, Elijah Wood, Nic Harcourt, John Taylor from Duran Duran, Benji and Joel Madden from Good Charlotte, Craig Robinson from The Office, among others.

About Mophonics

Forward-thinking and firmly situated at the intersection of the music and advertising industries, Mophonics counts Wieden & Kennedy, BBH, TBWA/Chiat/Day, BBDO, McCann Worldgroup, and Goodby Silverstein & Partners among its agency clients and has created music-driven cobranding intiatives for Apple, Visa, Verizon, Scion, Wrigley's, Electronic Arts, Axe, Nissan and Nike, and more. Mophonics is the only company to create an original single, "Gimme That," for an Apple iPod campaign. Artist Zeroleen's "All Good," has been featured in "CSI: Miami," "Weeds," multiple film trailers and ad campaigns for Verizon and 24Hr Fitness; the single also received airplay on specialty radio, retail outlets, and in-flight radio. Mophonics-produced band Four Fifty One was featured on NBC's "Friday Night Lights" and in a 4-spot Wrigley's campaign that featured Mophonics-produced artists; the band also played a 40-gig sponsored tour for energy drink Upshot. The Mae Shi, repped by Mophonics for original compositions and sync, was a strong presence at SxSW in 2009, with placements in Rockstar Games Midnight Club LA (MCLA) and in the award-winning indie "My Suicide."

LONDON, April 13, 2009 - In his new PSA, titled "Closer," director Jorn Threlfall of Outsider juxtaposes two domestic scenes: one in which a middle class British high school girl of about 14 prepares for her day, and another in which an Eastern-European girl of a similar age, confined to her stark bedroom, dresses after being forced into sex with one of many men who will pay for that privilege this day.

As the scenes are intercut, we learn that the first girl has healthy relationships with friends and family, and is looking forward to an upcoming party. The second girl is being victimized, exploited, and abused on a daily basis. More affecting than the sad disparity is the shocking revelation that these girls have more in common than their age. In fact, they live on the same suburban street in London. 

"This project was incredibly important to me," says Threlfall, who wrote and directed the piece on spec. "In our work as advertisers, we often comment on the lighter side or the more aesthetic side of life. The notion that sex trafficking is closer than we think, and the horror of what is going on in this civilized country we think we live in, this was a message worth disseminating." 

To produce the spot, Threlfall called on crew members with whom he'd been working on several recent commercial projects. "We had a production shorthand, and beyond that, there was a united ethical commitment, for which I'm so grateful," the writer-director says. 

The toughest challenge, Threlfall notes, was casting the Eastern-European girl. "To capture the vulnerability of this young person,  we had to communicate the difference between a 14 year-old and 16 year-old," he explains. "We saw a lot of really good people, but this is one of those situations in which an older actress might cost the spot its impact." Threlfall chose to cast a younger actress, using a body double for a shot of her undressing. He sought out not only a young actress mature enough to handle the role, but one whose parents could be heavily involved. "We worked with a family that was sympathetic to the piece, to what I was doing and why," he says. 

While researching his spot, Threlfall approached Amnesty International, and was directed to Anti-Slavery International, a smaller organization more closely associated with the struggle to liberate victims of modern slavery and human trafficking. Anti-Slavery will now serve as the sponsor of "Closer" and is pursuing theatrical and broadcast distribution for the ad.

The experience creating "Closer" has inspired Threlfall to make efforts such as this an ongoing pursuit. In addition to his commissioned current projects, the director is prepping his next PSA, which will address forced repatriation.

Client: Anti-Slavery
Title: "Closer"

Writer/Director: Jorn Threlfall
Production Company: Outsider
Executive Producer: Robert Campbell
Producer: Benji Howell
DP: Richard Mott
Editorial: Final Cut, London
Editor: Adam Rudd
Telecine/Post: MPC, London

Music/Sound Design: Grand Central, London
Sound Designer: Raja Seghal, Miles

VENICE, CA, April 7, 2009 - Music production company and digital label Mophonics is employing a number of current marketing platforms in connection with its release of singer/songwriter Joey Ryan's debut EP, "As It Must Be."  Mophonics produced the album, and when it drops today, the world will hear about it, via Topspin,  IODA, iTunes, and MySpace.

"We're always peering around the corner in search of emerging technologies and marketing opportunities," said Mophonics Executive Producer/Founder Michael Frick of the many avenues his company is utilizing in conjunction with the release. 

"We can use Topspin to communicate and interact directly with fans of Joey Ryan, and use IODA's broad reach to distribute to the rest of the digital world," reasoned Frick. Describing itself as "the premier digital distribution and marketing company for independent labels who want to build and grow their business," IODA's network of digital retail partners includes all the major distributors such as iTunes, Amazon, eMusic, Rhapsody, Sprint, and Verizon as well as dozens of newly emerging outlets.

About Mophonics

Forward-thinking and firmly situated at the intersection of the music and advertising industries, Mophonics counts Wieden & Kennedy, BBH, TBWA/Chiat/Day, BBDO, McCann Worldgroup, and Goodby Silverstein & Partners among its agency clients and has created music-driven cobranding intiatives for Apple, Visa, Verizon, Scion, Wrigley's, Electronic Arts, Axe, Nissan and Nike, and more. Mophonics is the only company to create an original single, "Gimme That," for an Apple iPod campaign. Artist Zeroleen's "All Good," has been featured in "CSI: Miami," "Weeds," multiple film trailers and ad campaigns for Verizon and 24Hr Fitness; the single also received airplay on specialty radio, retail outlets, and in-flight radio. Mophonics-produced band Four Fifty One was featured on NBC's "Friday Night Lights" and in a 4-spot Wrigley's campaign that featured Mophonics-produced artists; the band also played a 40-gig sponsored tour for energy drink Upshot. The Mae Shi, repped by Mophonics for original compositions and sync, was a strong presence at SxSW in 2009, with placements in Rockstar Games Midnight Club LA (MCLA) and in the award-winning indie "My Suicide."

BURBANK, CA, April 6, 2009 - For Russell Frazier of AlphaDogs, the 36th Annual Annie Awards were not an opportunity to be honored for past work; rather, the event was a chance for Frazier to showcase new work. As he has done since 2007, Frazier created the graphics for the show, which celebrates the best in animation.

"It is both fun and an honor to participate in this project, because the audience for the event is filled with the most accomplished animators and voice talent in the industry," says Frazier, who was first approached by AlphaDogs client and independent producer Les Perkins of LES IS MORE PRODUCTIONS to supply the graphics for the Annie Awards in late 2006. "We had worked with Les many times over the past decade, on projects for the Walt Disney Co. and others. I'm so glad this has developed into an annual opportunity."

"Russell's work is always outstanding," Perkins enthuses. "His instincts and judgments are very good and he produces great results with very little direction on my part. I've gotten to the point with Russell where I just tell him the concept for the Annies show and he finishes the job without needing any revisions."

"Les and ASIFA Hollywood's Antran Manoogian have given me more freedom each year to set a look for the show," Frazier acknowledges, "though I try to harmonize with related Annie Awards material on the ASIFA website and the printed program."

In 2007, Frazier's first year working on the show, animator Eric Goldberg had supplied caricatures of famous animators for the website, which Frazier incorporated into his graphics package. "Because the subject is animation, there's room for some humor in the design," he says. "For example, one year the lower 3rd banners were shaped like thought balloons emanating from the trophy." For this year's ceremony, held January 30, 2009, at UCLA's Royce Hall in Los Angeles, Frazier imagined an art deco setting with a distinguished "Old Hollywood" look. "The event and the venue have an elegant air, and I wanted to complement that with this year's graphics," he explains.

Creating the titles for the Annies is a big job, with over a hundred nominees in 25 categories. "I'd never want to tarnish any nominee's evening by misspelling his or her name, so aside from aesthetic concerns, we proofread all the text more than once," says Frazier, who has created film & documentary titles and graphics, television show opens, visual effects, promo graphics, and DVD menus for numerous clients, and has worked as a visual effects compositor on over a dozen feature films.

"I always enjoy working on the Annies," Frazier concludes, "and look forward to next year."

About the Annie Awards

First held in 1972, the Annie Awards have grown to become animation's highest honor. The Annies are dedicated to honoring the best animated films of the year, as well as recognizing individual achievement. All members of ASIFA-Hollywood may vote for the winners.

VENICE, CA, April 3, 2009 - "Bad Day," an NFL Fantasy Football spot directed by Wayne Holloway of RESTLESS and created via agency Mering Carson, has been honored with an EMMY nomination as Outstanding Sports Promotional Announcement - Institutional, in the 61st Annual Primetime EMMY Awards.

Also known as "Fantasy Football Blues 2008," the commercial features comic vignettes conveying the misery of fans who had a losing season in Fantasy Football. The bright side to their plight? NFL.com's Fantasy Playoff challenge, a free contest in which they could win a trip to Super Bowl XLIV.

Holloway was out in the California desert shooting a Snickers spot via BBDO/Moscow, and could not be reached for comment, but one presumes he is pleased. And thirsty.

RESTLESS partners: Sabertooth, Film Realitè

VENICE, CA, March 23, 2009 - Sabertooth, an end-to-end digital solutions provider, has opened up shop, presided over by Creative Director/Founder David Cullipher and Executive Producer John Busenberg. Sabertooth has a slew of projects already underway, including several Interactive CG and CG Print collaborations with TBWA/Chiat/Day/Tequila, for clients Nissan and Gatorade. Interactive work for Walmart (Martin Agency), Office Max (Escape Pod/Chicago), and Intuit, as well as broadcast spots for Bosch and The Attik, are also in production.

"Our focus is on handling complicated, nontraditional digital problems. From our work with Nissan and Tequila, we've become known as CG web specialists, and we do have a fantastic pipeline for creating those kinds of assets," Cullipher said. "What distinguishes us in the big picture is that we invent practical new ways to provide more creative control and production efficiency through technology."

As an integrated studio, Sabertooth has access to a roster of award-winning directors and DPs, combining its VFX/interactive services with in-house live action partner companies Film Realitè and RESTLESS. "What we see happening at agencies is a coming together of interactive with live action production, so we've created the same model to address their needs," Cullipher noted. "The one thing we hear again and again from interactive producers and creatives is that there is a disconnect between broadcast and interactive - you can't return from a traditional broadcast shoot and expect the footage to translate into a viral campaign. That's just frustrating for both departments."

"Now we're starting to see the shift happen," Busenberg added. "We are starting to be asked by agencies to consult with them on both broadcast and interactive before they go on location to help them understand what is possible from an interactive standpoint. We think this is how the process should work to really benefit the agency and ultimately the client."

According to Cullipher, Sabertooth is designed to be a next-generation production company. "By having everything literally under one roof, we can offer tremendous efficiencies to our clients," he said The alliances with Film Realitè - a venerable outfit known for its automotive expertise - and RESTLESS - a younger commercial production company responsible for innovative high-profile work such as the recent celeb-studded adidas originals "House Party" viral campaign for Sid Lee - provide Sabertooth with a world-class directors and production infrastructure for any live action components, from automotive to comedy to visual storytelling.

"Sabertooth is a place where agencies can execute complicated cross-disciplinary projects without the added friction of multiple vendors, and without the double markup or double management that can accompany hiring three or four vendors to complete one job," Busenberg said. "It's the future."

Prior to forming Sabertooth, Cullipher and Busenberg were part of Two-Headed Monster, where the pair created interactive, CG, and other projects for Infiniti (Designory), P&G's Share Water Project CSDW.ORG (TEQUILA), Hyundai (Goodby, Silverstein & Partners), and VW (CP+B/Denver).

Based in Venice, CA, Sabertooth is a collective of designers, directors, VFX and interactive artists dedicated to creating amazing work. We are medium agnostic, flowing between interactive, film, video, online, print and broadcast. Creatively restless, we continually seek new methods and techniques to improve ourselves and our work. We treat clients as partners, and believe that great work in any medium results from the dynamic creative collaboration that takes place between idea and execution. 

SANTA MONICA, CA, March 20, 2009 - Arsenal FX, a special effects and finishing boutique catering to a diverse global client base that spans Advertising, Film, and Sports, has announced its official launch in Santa Monica, CA. Founder/Artist Mark Leiss embarks on the venture with the support of key staff Executive Producer Ashley Hydrick and Graphic Artist/Compositor Joseph Grosso. Arsenal FX has already worked with many prestigious clients, including Triple Double, Fox Sports, NFL, Chevrolet, Saab, Buick, Pontiac, Cadillac, Bumble Bee, and Walmart; the company also recently completed music videos for Jamie Foxx, Bow Wow and Nickelback.

Leiss is a graduate of the Grove School of Music, and a multi-talented artist with 20 years of experience in film, television, and music videos. He enjoyed a successful tenure at Jigsaw Editorial, before initiating work via Arsenal FX in October of last year. As an editor and visual effects artist, Leiss has lent his talents to many notable advertising projects, including Saab "Cycle", Honda "Dog Show", and BMW "Freeway," work that garnered him an EMMY nomination for editing. An unconventional thinker, Leiss has never shied away from venturing beyond his traditional discipline, a trait which will surely be reflected in his new company's development. "The ability to show art in the advertising medium has always fascinated me," said Leiss, "and at the same time our ability to work across numerous platforms, from ads, to movies, and sports content, has allowed us to thrive even in difficult economic times."

Hydrick brings to Arsenal FX a broad range of experience in commercial post production, and stated that her role at Arsenal FX all comes down to shared philosophies. "In launching Arsenal FX with Mark, I am lucky enough to be paired up with not only an extremely talented artist, but one of the nicest guys in town," she said. "We agree that it's extremely important to surround yourself with good people who are supportive. That energy extends to our entire staff, who feel that they have a voice and their contributions count, which in turn, enables the creative process to thrive without restriction."

Prior to the launch of Arsenal FX, Hydrick was a staff producer at Beast Editorial. Visual effects have also figured prominently into her work history. As the lead scheduler at Digital Magic, Hydrick worked on commercials and TV programming such as "Star Trek" and "Buffy the Vampire Slayer."

Grosso, an accomplished Flame Artist, Compositor, and Graphic Artist, has years of experience in post production, much of it spent under the tutelage of Leiss, whom Grosso assisted at their previous roost, Jigsaw, from 2003 through 2008. During that time, he also had the opportunity to do some Flame work of his own, refining his skills and branching out as a freelance artist in his own right. "Arsenal FX is the perfect place for me to grow creatively, while working with great people," said Grosso, whose credits include music video and commercial projects for Deadly Syndrome "Emily Paints", The Submarines "Peace and Hate", NFL Network "Bold Predictions - Eli" and "Bold Predictions - Dentist" (directed by Locksmith's Benjamin (Tapas) Blank), and "Polygarol" and "Eau De Polygamie" for the HBO series Big Love. "Having an impact artistically is really gratifying, and what I love most about this business," he said.

Arsenal FX has also formed an association with graphics company Carosall, featuring artists Ryan Gibson, Lauren Mayer-Beug, and Nathan Boldman, whose work includes the opening of "24" and projects for Fox Sports and Comcast. "Having Carosall under the same roof as Arsenal FX allows us to offer additional value to clients while maintaining our standard of excellence and service," Leiss said.

LOS ANGELES, CA, March 20, 2009 - Director John Zissimos has signed with Fools and Horses for  exclusive US spot representation. He comes over from Hungry Man. A former creative director with TBWA/Chiat/Day, J. Walter Thompson, and McCann Erickson, Zissimos has done award-winning creative work for Nissan, Nestle, Lipton, Amstel, and more. As a spot director specializing in comedy/dialogue, he has helmed campaigns and spot projects for clients such as Mike's Hard Lemonade, the San Francisco Giants, Airborne, PG&E, and the Inside Out Film Festival. His first assignments with Fools and Horses are a Sprint viral via Goodby Silverstein Partners, and the "Quick. Get that Dog Some ALPO" campaign via Fallon/MN.

"It was a wise person who first said, 'It takes a village'," said Townsend, who worked with Zissimos during his agency days, when she was Managing Director of Headquarters and Guzman was Head of Production.  "Lucky for us, John is a village. There is nothing he lacks in creativity, intelligence, dedication and enthusiasm.  It’s rough out there right now, and just when you think it couldn’t get any harder - with John - it gets funny.  It’s always a joy to work with him."

Zissimos stated that his agency background has proved invaluable when engaging in collaborations with creative and production teams. "I know what its' like to spend a year with one 30-second script and at the one-yard line hand it off to a director," he explained. "I know how hard that is so I try to make something good and bring to life these ideas. I love taking on new challenges and pulling a win out of a tough situation."

Taking on new challenges was the hallmark of Zissimos' creative career, one in which he earned a reputation for helping to turn troubled brands around. Likewise, humor has always been a core ingredient. Beginning his career at TBWA/Chiat/Day, working on Nissan and other accounts, he shot and cut anything he could think of and get his hands on. He began making commercial spoofs for client meetings, films for new business pitches and most importantly learning the craft of directing from the inside out. Following five years at Chiat, Zissimos went on to successful tenures at Warwick Baker Fiore and JWT, where he did high-profile work for Heineken, Amstel Light, Lipton Brisk, Nestle and PG&E, and crafting hugely successful campaigns such as Amstel's "A Light Beer for a heavy world" and Lipton's "That's Brisk, baby."

Zissimos left JWT to direct full time, but was quickly lured back into the business by McCann Erickson. He orchestrated a pitch on Mike's Hard Lemonade, shooting a 9-minute film with a digicam and an empty bottle. The user-generated look and irreverent tone spawned a Mike's Hard Lemonade campaign that ran for nearly three years, and put Zissimos in the directors chair. With 50 Mike's commercials under his belt, another company came calling. This time it was not an agency, but a production company, Hungry Man. After a 16-year detour, Zissimos was finally a full-time director.

Now, at Fools and Horses, Zissimos believes he has come into his own. "Pursuing commercial directing is a humbling experience, especially in a trying economic climate," he said, "but it's well worth the investment when you have wonderful support and a commitment to doing good work."

"John has a 'big brain'," enthused Guzman of the director. "He is dedicated, passionate and extremely hard working. And on top of that he is a wonderful writer...and hilarious." Guzman added that Zissimos has a keen understanding of the business. "He understands how it's changing - shrinking in the amount of jobs and money and reinventing itself through branded content," she said. "And he still loves it and wants to be a part of it."

Zissimos rounds out a Fools and Horses roster comprised of David Denneen, Fuzzi Galuzzi, Kai Sehr, Laurence Thrush, Francois Valla, and Erik Van Wyk.

HOLLYWOOD, CA, March 20, 2009 - Über Content has signed director Luis Gerard for exclusive North American spot representation. He comes over from Great Guns USA. Gerard has directed international campaigns for Sprint, Honda, Nissan, Suzuki, LG and VW, among others, and recently completed a Target campaign via Peterson/Milla/Hooks, MN. Gerard is currently at work on another Target assignment, his first with Über Content.

"The first thing you notice about Luis is that he brings a powerful cinematic signature to his work," said Partner/Executive Producer Preston Lee, who presides over Über with Partner/Executive Producer Phyllis Koenig. "From casting to locations to composition, there is always a storytelling motive to his shots." 

Entering the spot biz in 2000, Gerard immediately sought opportunities to bring scope and impact to the screen. In 2005, his spots for Gain "Airport," Ace "Karate," and Ragu "Father and Son" were all short-listed at Cannes that year. "Father and Son" snagged a Gold Shark at Kinsale and Ragu "Fingers" a Bronze. Gerard also earned inclusion in the 2005 Y&R Young Directors Showcase. "Some of my early commercials were for brands not known for strong visual work, but these were wonderful jobs that offered some great creative opportunities," he said.

Gerard has worked extensively around the world, helming projects via Euro/London, Saatchi/Sydney, Lowe/Bangkhok, and others. He recently shot a spot for Banco Popular via McCann-Erickson/Madrid, featuring Pao Gasol of the LA Lakers. Spot work in the States includes ads for Honda (RPA), Tropicana (Element 79), Target (Peterson/Milla/Hooks), Kelloggs (Leo Burnett/Chi), Lexus (Team One), and Trident (JWT/NY). The work has varied in tone and genre. "I like the challenge of doing different things," he said, "but, as a director, visual storytelling is by far the most enjoyable aspect for me."

Gerard, who was born and raised in Puerto Rico, and who still lives in San Juan, credits his father with instilling in him a deep love of cinema. "My father is an architect and was not afforded the freedom of attending film school," Gerard related, "so it was important to him to share this love with me and to offer me every opportunity to explore my talent." While he did not study film formally, Gerard and a college classmate made a short film, "Que Sera", that screened at the Venice Film Festival. "This was an experiment in storytelling without dialogue, in black and white," Gerard recalled. "As a follow-up, I wrote another short, that was all dialogue and in color."

A CD from top agency Eje/Puerto Rico saw that film and thought Luis could thrive in commercials. His first campaign for the agency was for Levi's. "A small Levi's campaign," Gerard mused. "But it led to a lot more work."  

More work, and the pursuit of greater challenges, are foremost in Gerard's mind. "Preston has shown a lot of faith and passion and those are things that inspire me to take a step forward," he explained of the move to Über Content. "For me, it's all about working with people who give you the opportunity to grow."

Gerard is represented in Spain by Group Films and in Mexico by Santos. He remains with Great Guns UK for work in that market. 

Based in Hollywood, Über is a multi-content production company established in January of 2006. Now representing numerous directors with diverse talents, Über Content has quickly become the new company to watch. Gerard rounds out a company roster comprised of Jordan Brady, Jeffrey Fleisig, Stewart Hendler, Jason Kohn, Dave Laden, and Marc Schölermann.

AUSTIN, TX, March 19, 2009 - The Mae Shi - repped by music company Mophonics for original compositions and sync - is certainly making its presence felt at SxSW. 

Through its relationship with Mophonics, the band secured a prominent placement for fan fave track "Run To Your Grave," featured in the Berlin FIlm Fest's "Crystal Bear-winning" self-inflicted comedy "My Suicide" ; the SxSW FIlm Festival marks the film's North American debut.

Another Mae Shi track, "Party Steady," reworked by Yea Big+Kid Static, can be heard in Rockstar Games' "Midnight Club LA."

What's more, The Mae Shi is poised to set a new standard for "The Record Number of Legit Performances at SxSW (by a band with no tour support)"... The band has 17 - count em, 17 - genuine gigs lined up for the festival. 

The full list of appearances is included here (for those of you who are actually at the fest), and at press time the band had completed the first three of its scheduled performances. The run concludes March 22 at Beerland, at which time, we presume, the band will need a pint or two.

The Mae Shi have 15 showcases/shows, plus 1 MTV session performance, and 1 Black Cab performance totaling 17 performances in 4 days:

Mar 18 2009 SXSW Maggie Mae's - Spaceland Party Austin, Texas

Mar 18 2009 SXSW Mohawk - Austinist/Ghotamist Party Austin, Texas

Mar 18 2009 SXSW Club 1808 - Moshi Moshi Party w/ Casiokids, Slow Club Austin, Texas

Mar 19 2009 SXSW TBA - Cory Plump Party Austin, Texas

Mar 19 2009 SXSW OK Mountain - KVRX Party w/ Mika Miko Austin, Texas

Mar 19 2009 SXSW Malverde - IAMSOUND Party w/ Telepathe Austin, Texas

Mar 19 2009 SXSW The Red House Pizzeria - Moshi Moshi Party Austin, Texas

Mar 19 2009 SXSW TBA - Lost In, Texas Party w/ Mika Miko, Anavan, HEARTSREVOLUTION Austin, Texas

Mar 20 2009 SXSW Emo's (Outside) - Pitchfork Party Austin, Texas

Mar 20 2009 SXSW Habana Calle 6 - AAM Party w/ HEALTH Austin, Texas

Mar 20 2009 SXSW TBA - Myopenbar.com Party w/ Mika Miko, The Death Set Austin, Texas

Mar 21 2009 SXSW Mrs. Bea's - Todd P Party Austin, Texas

Mar 21 2009 SXSW Domy Books - The Smell Party Austin, Texas

Mar 21 2009 SXSW Mohawk - Panache/Lovepump Showcase w/ Monotonix, HEALTH, Pre Austin, Texas

Mar 22 2009 SXSW Beerland w/ PRE, Mika Miko Austin, Texas

About The Mae Shi

Currently, there are six members of the Mae Shi: Brad Breeck, Jeff Byron, Tim Byron, Bill Gray, Jon Gray and Jacob Cooper. You are likely to only see four of us on stage at any given time, but the rest of us are lurking in the shadows. We've been told that "mae shi" means "business card" in Japanese. This is fitting, because the band is our business card. The band is our self-help vehicle, and as our personal goals change, our roles within the band change.

Amidst all of this change, some things are constants. What's been done has been done, and it's of little interest to us unless we can repackage it in a new and exciting way. The only option is to forge ahead, to try new things, to test out bad ideas, to all try to sing and work together and hope the road we're on leads somewhere. It's about the journey and the destination. This all sounds immensely airy but we believe it -- at its core the rock and roll band is a surrogate family for our culturally extended childhood, it's our self-help group, it's our soap box, it's a way to see what we're really capable of. Growing up is tough. This is our attempt to grow up.

About Mophonics

Forward-thinking and firmly situated at the intersection of the music and advertising industries, Mophonics counts Wieden & Kennedy, BBH, TBWA/Chiat/Day, BBDO, McCann Worldgroup, and Goodby Silverstein & Partners among its agency clients and has created music-driven cobranding intiatives for Apple, Visa, Verizon, Scion, Wrigley's, Axe, Nissan, TRESemmé, and more. Mophonics is the only company to create an original single, "Gimme That," for an Apple iPod campaign. Artist Zeroleen's "All Good," has been featured in CSI: Miami, Weeds, Damages, multiple film trailers and ad campaigns for Verizon and 24Hr Fitness; the single also received airplay on specialty radio, retail outlets, and in-flight radio. Mophonics-produced band Four Fifty One was tapped to appear in The CW's Veronica Mars and subsequently played a 40-gig sponsored tour for energy drink Upshot. Mophonics artist Joey Ryan has had tracks featured in Visa, Wrigley's and Wendy's ads, the Toronto Film Fest's People's Choice Winner "Bella," UNICEF's Tap Project, and TV's "One Tree Hill" and "Veronica Mars."

SANTA MONICA, CA, March 16, 2009 - Acclaimed feature, spot, and music video editor Jim Haygood has been named a Partner at Bicoastal Union. Haygood joined the company in March 2008, after completing his latest feature, "Where the Wild Things Are," directed by Spike Jonze, on which he shared editorial duties with colleague Eric Zumbrunnen. He has since cut spot projects such as the PlayStation MLB launch via Deutsch/LA, Range Rover via Y&R, Sprint's "Instict" campaign (Goodby, Silverstein & Partners/SF), which screened in theatres nationwide, Capital One via DDB/Chicago, and Visa via TBWA/Chiat/Day.

"Jim is a true artist and no doubt one of the best editors in the business," said Union Partner/Executive Producer Michael Raimondi. "On top of that, he is also a terrific thoughtful guy who fit in here immediately. We have a lot of synergy between us personally whether it be bicycles, politics, Stephen Colbert or Advertising. He challenges me in ways that keep me excited about where we are going as a company and as a nation. Professionally, we hit the ground running with Jim and haven't looked back. We are thrilled to have him here as a partner."

"Union has all the pieces i was looking for in a commercial company," said Haygood, "excellent creative talent, complete facilities from offline through compositing and mixing...and perhaps most importantly, the respect and trust of clients who appreciate how union does business."

Haygood, formerly represented by Spot Welders, has described his career as "a single journey of interconnected disciplines" in which he has consistently vaulted between movies and spots. 

Haygood's additional credits include notable spot projects for Jaguar and Miller Lite, as well as the films "The Astronaut Farmer," "Panic Room," and "The Game."

Union has offices in Santa Monica, CA, and New York City. The company launched its NY office in June 2008, with Partners/Editors Sloane Klevin and Geordie Anderson, and Executive Producer Caryn MacLean. Haygood rounds out a Union roster comprised of Nico Alba, Anderson, Einar, Jay Friedkin, Nicholas Wayman-Harris, Klevin, Nick Lofting, Adam Jenkins, and Paul Plew.

DETROIT, MI, March 13, 2009 - Mediascape - a partner company of Universal Images dedicated to providing alternative marketing and technology solutions in the experiential marketplace - has been a powerful presence at this year's A-circuit auto show venues with work for VW, GM and Mistubishi. The circuit includes venues in LA, Detroit, Chicago and New York.

"This year we were involved in a great deal of the interactive content at these major venues," said Mediascape President Howard Luby. "Even in the face of budget reductions, we were able to provide cost effective attractions that helped contribute personality and intrigue to displays that delivered in depth product information."

For the third consecutive year, show-goers experienced the in-car Caraoke system developed by Mediascape for Presentation Works, Exhibit Works, and VW. The system allows visitors to hop into an auto show car and share their "Caraoke" skills with the crowd and then with the world from a VW branded Web site along with Youtube. 

Additional VW attractions this year for ExhibitWorks included the "Simon" paint table, featuring touch-sensitive orbs, each painted a color available on a VW model. Responsive lights and audio cues play the Simon color-matching game, allowing up to 11 levels of pattern-matching complexity.

Mistubishi's visitor experience was enhanced by a trio of new tools for Presentation Works developed by Mediascape. First up was the Rockford Fosgate Visualizer. An audio demonstration system, the visualizer lets visitors pick any of five music genres to demonstrate the performance of an available premium sound system mounted on the display. The immersion is enhanced with the projection of a realtime music visualizer onto the round overhead canopy.

Next for Mitsubishi was a Color Touch Screen interface. This allows various Mitsubishi models to be previewed in each available color, and allows 360 degree interior and exterior views to be dragged on the screen.

Finally, there was Mistubishi Drive@Earth, also a touch screen interface enabling touch-sensitive tag lines to display more details.

To promote GM's new Chevy Volt, Burning Daylight and 24G worked with Mediascape to develop five interactive touch screen kiosks along with show control for a large, moderated LED wall.

Presenters narrate a presentation on the large LED that they control via a wireless iPod Touch, enabling them to launch select videos. They can even enter a zip code to roam around a realtime view of a Google satellite map showing the 40 mile "Green Zone" radius that the Volt can reach on a single charge. Visitors at each kiosk can also enter their zip codes into the live Google database to roam around their personal Green Zone, as well as navigate to numerous videos and animations that present key features and benefits of the car as described by various project leaders.

Mediascape also worked with Burning Daylight and 24G on additional touchscreen kiosks featuring interactive presentations about Cadillac's Converj electric car.

BURBANK, CA, February 22, 2009 - Leading Burbank post house AlphaDogs was chosen to provide post services for the critically acclaimed Werner Herzog feature doc, Encounters at the End of the World. "Encounters" has been honored with an Oscar® Nomination for Best Documentary Feature.

CEO & Founder of AlphaDogs Terence Curren said that the company "provided all online editing and color timing for this project in our Burbank facility. Our colorist Brian Hutchings was able to achieve exactly the look the client wanted in our newest color correction suite."

Brian Hutchings, AlphaDogs Colorist, added that color correction for "Encounters at the End of the World" was all done in house at AlphaDogs using the Apple Final Cut Studio Color package. "AlphaDogs installed Color along with the optional Tangent operator panels which really gives the feel of the Da Vinci System I'm used to," he explained. "Color worked throughout the sessions without fault and allowed us to achieve the exact look required."

Written, directed and narrated by Herzog for the National Science Foundation, Encounters is a never before seen glance at a hidden South Pole society. It documents the lives of 1,000 men and women living in close quarters in physically and psychologically challenging circumstances to further the goals of cutting edge science. The film exposes the psyches of this diverse clan while capturing the treacherous beauty of the Antarctic landscape and below water world.

In addition to its Academy Award nod, the film has been shown at numerous festivals and won Best Documentary at the Edinburgh International Film Festival and a Jury Mention at the Planet Doc Review Festival in Warsaw. "Encounters" was voted one of Time Magazine's Top Ten Movies of 2008.

About AlphaDogs

Founded in 2002, Burbank-based AlphaDogs, Inc. quickly established themselves as leaders and innovators in the rapidly changing digital post arena. The company maintains an early adopters edge; testing and assimilating leading technologies to keep ahead of the pack with solutions such as the RED camera and were the first post house in Los Angeles to take delivery of the Avid Symphony HD editing system. Personal attention from a seasoned award-winning team assures client satisfaction accompanies each cost-effective delivery of superior post production services-from editing and audio re-recording to broadcast design & effects.

AlphaDogs is home to the popular Editors' Lounge and headquarters of the growing media transfer specialty service Digital Service Station; now serving California, Colorado, Florida, Illinois and Ohio. AlphaDogs is located at 1612 West Olive, Suite 200, Burbank, CA 91506.

Visit the AlphaDogs team on the web: www.alphadogs.tv.

LOS ANGELES, CA, February 20, 2009 - Gentlemen, the directing duo comprised of Brett Snider and Billy Federighi (l to r), has signed with Bandito Brothers for exclusive US spot representation. The directors are already helming their first assignment for the company: a Kraft Lunchables projects via Draft FCB Chicago, shooting on location in New Zealand.

The team entered the spot-making arena two years ago, winning ad contests for Doritos and Converse. Doritos "Mousetrap" aired during the Super Bowl XLII broadcast, ranking #4 on the famed USA TODAY Ad-Meter. Gentlemen has since directed projects for Kellogg's (Leo Burnett/Chicago), Cici's Pizza (Deutsch LA),  Hormel (BBDO), and Kentucky Lottery (Northlich). They also have been counted among shots' most promising new directors and earned inclusion the SHOOT New Directors Showcase. The duo comes over from Über Content.

"As soon as we saw the work, we saw the potential," said Bandito Brothers Executive Producer Jeff Rohrer. "They're young guys who bring tremendous talent and enthusiasm to the party. We have deep experience and resources, and a background in building directors, so it's a perfect fit."

With Gentlemen, Bandito Brothers - known for intense, in-camera action - expands it roster to include comedy. "We're fired up by the fact that these guys do action," said Snider.  "The vibe is cool and exciting. We met with many companies - from new to well-established - and no one had this kind of energy. It's easy to get excited about Bandito Brothers."

For Federighi, the Bandito Brothers' stature in the action arena has huge appeal. "Being at this company allows us to be more than just comedy directors," he enthused. "We're the solution for comedy at Bandito Brothers, and that holds us to a certain standard." He added that Gentlemen would love to team up with Bandito's Mike "Mouse" McCoy and Scott Waugh on an action-comedy project. "How much fun would that be? And we're not afraid to get our suits dirty for the right project."

After meeting at Columbia College Hollywood in 2005, Snider and Federighi appeared destined for separate lives: Snider behind the counter at Kinko's and Federighi as a set P.A. for production companies such as VILLAINS and Smuggler (where he first met Rohrer). When the two decided to try their hand at directing, something clicked. As Gentlemen, they wrote, directed, and edited a 16mm spec for Converse. "The Original" won the brand's worldwide contest and ran nationally. Doritos "Mousetrap" followed. 

As the ad biz gears up for Game Day, the pair are garnering new accolades for last year's appearance. Doritos "Mousetrap"will be profiled on CBS' "Funniest Super Bowl Commercials" broadcast, and on Kevin Nealon's "World's Funniest Commercials" program on TBS.

In addition to Gentlemen, McCoy, and Waugh, the Bandito Brothers roster includes Jacob Rosenberg, and directing team Teton Gravity. Bandito Brothers is represented by Unique of Little Gypsy for special projects and on the West Coast. Kitty Monaghan and Kelly Halpine of Monaghan+Halpine rep the company in the Midwest. 

LOS ANGELES, CA, February 20, 2009 - Italian directing duo Borgato & Berte has signed with Savant Film for exclusive US spot representation. Comprised of Paolo Borgato and Tommaso Berte, the team is known for bold, visually arresting spots, most notably Freddy "Human Machine," which was part of the 2007 Saatchi & Saatchi New Directors Showcase at Cannes.

"We're big fans of the guys, and couldn't be happier that we'll be working together," said Executive Producer Jamie Miller, who presides over Savant with fellow EP Joby Barnhart. "The work of Borgato & Berte has such a distinct and inventive flavor, and we look forward to getting their names out in the US market. We expect their reel will elicit the excitement and enthusiam we felt when we saw it."

Savant Film is the first stateside spot roost for the directors, who have a diverse history in filmmaking. Borgato spent ten years as a production manager, editor, and 1st AD on feature films. Berte attended film school in France, before returning to his native Italy to work as a producer. The pair met while producing commercials in Milan in 2004, and soon began collaborating behind the camera. 

In 2005, "Schoolbus," the duo's PSA for Save The Children won the Shots/CFP-E Young Directors Award (European Broadcast Category), catapulting them into the international eye. Borgato & Berte have since created memorable commercials for such clients as Vodafone, Volkswagen, Sprite and Ikea.

SANTA MONICA, CA, February 18, 2009 - "The Totally Rad Show," Revision3's movie, video game, TV and comic review show, aired its 100th episode on Tuesday, February 17. Complementing the program's milestone episode, the hosts will present a special two-year anniversary show in the upcoming episode 104.

The 100th episode will be available at www.revision3.com/trs.Episode100 and will feature hosts and Internet celebrities Alex Albrecht, Jeff Cannata and Dan Trachtenberg  - aka director Danny T of commercial production company tight - as they review movies including Friday the 13th and The International and video games F.E.A.R. 2 and Street Fighter IV. Coverage will also highlight TRS coverage of the 20th Anniversary of Street Fighter.

In addition, the hosts will announce the opportunity for fans to vote for their favorite introduction and user-submitted background display from the second year of programming. The episode will showcase discussion from the audience's favorite moments of the year, based on their votes.

"The Totally Rad Show continues to air quality programming on Revision3 because the hosts know how to give their audience what they want-smart, opinionated commentary, perfect for our geek and pop culture fans," said Revision3 CEO Jim Louderback. "Reaching 100 episodes in any broadcast medium is impressive, and we look forward to another year of success for the show and hosts."

The Totally Rad Show is the recent winner of the "Best Produced" 2008 Podcast Award. Hosted by Alex Albrecht, Jeff Cannata and Dan Trachtenberg, the Totally Rad Show is Revision3's explosion of movie, video game, TV and comics news and reviews. Four dudes in a garage. One green screen. A cubic ass-ton of enthusiasm. The Totally Rad Show is all about the feeling of sharing a great new movie, video game, TV show or comic. If it's out there and it is rad, it is on the Totally Rad Show. For more information, visitwww.revision3.com/trs.

About Revision3
Revision3 is the first media company that gets it. Born from the Internet, Revision3 is the home of Internet Television, creating and producing shows for a new audience: passionate, committed fans who want to watch shows about technology, modern culture and music that entertain, educate and help to expand their life experiences.

The company was founded in 2005 by technology visionaries Kevin Rose, Jay Adelson and David Prager because they couldn't find anything they wanted to watch on traditional television. The company is now led by Internet TV pioneer Jim Louderback. With more than 60 million views to date (and six million per month), Revision3's programs can be found everywhere from Revision3 to a wide range of platforms, including iTunes, YouTube, Joost, Hulu, Viddler, Blip.TV and TIVO. Shows can be watched on any device, from a cell phone to an Apple iPod to a computer or a TV.

"I was disappointed with the lack of attention and support our troops faced upon returning home and knew I had to do something," said Mink, who came up with the idea to write the song, "Mr. Trooper," as a show of gratitude and to honor U.S. troops fighting overseas.

The classy, 1940's-style song became a hit, encouraging Mink to create a video based on the song, with the hope it would raise awareness and generate donations to help soldiers and their families.

Word spread. Friends came on board. Director Scott McCullough, who has worked with high profile artists such as Prince, the legendary actor Paul Newman and NASCAR,immediately said "yes." McCullough directed, shot and edited the video, reminiscent of USO entertainers who performed for the troops during WWII, on a pro-bono budget. The video was shot at the historic Wiltern Theatre in Los Angeles, with four show stopping singer-dancers to back Mink.

"It was a great opportunity to contribute to something special and unique that would raise positive awareness and honor our troops without any bias of the war's politics," McCullough said.

"Mr. Trooper" has gained national recognition on a variety of outlets, including Tim Conway Jr.'s popular LA-based radio show, Blog Talk Radio, the Matt Buffman Radio Show, and KSLX FM (97.1 in Los Angeles). "Our soldiers and their families have made and continue to make the ultimate sacrifice and this project is the least I can do to show my support and encouragement for our troops," said Mink.

All proceeds from sales of the "Mr. Trooper" DVD will go to programs designed to help returning troops and their families, through Veteran's Village, a 501c3 non-profit corporation. To donate and get a copy of the Mr. Trooper DVD, please go to:
http://www.MisterTrooper.com.

BURBANK, CA, February 9, 2009 - "Tom Petty and the Heartbreakers: Runnin' Down a Dream" took home the award for Best Long Form Music Video at the 51st annual GRAMMY Awards, held last night in Hollywood. Producer/Director Peter Bogdanovich visited AlphaDogs' Burbank facility to complete additional sequences for the DVD release of his acclaimed epic; AlphaDogs also finished the original DVD version released earlier by Warner Bros. Records.

The nearly 4-hour-long documentary chronicling the 30-year career of Tom Petty and the Heartbreakers continues to receive praise for not only its content but the pacing, which flows breezily along while taking a leisurely stroll through the years in exclusive footage of the band and abundant interviews with numerous other music legends. The new footage further enhanced a work already showing signs of becoming a classic.

"This was a very prestigious project from the outset and something we were delighted to have here at AlphaDogs," said company CEO & Founder Terence Curren. "Peter (Bogdanovich) came in to add some additional scenes to the DVD completed in the fall of 2007. These include Tom Petty in his early years with Mudcrutch and will be added as special features to the DVD package."

AlphaDogs provided all offline and online HD finishing work for the original DVD project. Two of the companyʼs offline FCP suites were in use constantly for 12 months before the project moved into an online FCP suite for HD finishing.

About AlphaDogs
Founded in 2002, Burbank-based AlphaDogs, Inc. quickly established themselves as leaders and innovators in the rapidly changing digital post arena. The company maintains an early adopters edge; testing and assimilating leading technologies to keep ahead of the pack with solutions such as the RED camera and were the first post house in Los Angeles to take delivery of the Avid Symphony HD editing system. Personal attention from a seasoned award-winning team assures client satisfaction accompanies each cost-effective delivery of superior post production services-from editing and audio re-recording to broadcast design & effects.

AlphaDogs is home to the popular Editors' Lounge and headquarters of the growing media transfer specialty service Digital Service Station; now serving California, Colorado, Florida, Illinois and Ohio. AlphaDogs is located at 1612 West Olive, Suite 200, Burbank, CA 91506.

For more info, visit: www.alphadogs.tv

MIAMI, FL, February 3, 2009 - All eyes were on Florida this past weekend, and the Sunshine State is already back in the news, with a unique goodwill initiative poised to inspire a trend. Pumped, Inc., a Miami-based brand development and design firm, has launched "Make Change," a new PSA created in support of The Million Penny Project. Helmed by Kenneth O'Brien and Pumped president/creative director Carlos Peña, the:30 depicts pennies positioned on a white background one by one, eventually forming the image of two hands placed together in a gesture of giving. 

"This is the first time we've drawn on our professional experience and industry partnerships to create a brand designed to have a lasting impact in our community," Peña noted. "We've approached this endeavor with the same tenacity we bring to our roster of clients."

The Million Penny Project is a fundraising campaign that invites the community and local businesses to collectively donate their financial and professional resources for a range of different causes. Mr. Peña launched the Million Penny Project as an initiative of Pumped's non-profit arm, Pumped for Change. "We are creating partnerships with a multitude of organizations and vendors to support charities in the community by developing and effectively executing fundraiser strategies," stated Peña. "Our efforts are always to benefit the leading organizations focused on providing relief and solutions to the social need."

"This was an irresistible project on both strategic and creative levels," said Brainchild Creative's Jef Loeb, who served as co-creative director and writer on "Make Change." "Strategically, Carlos' idea of developing a means for people to contribute to their community, despite the economic crisis, was a major conceptual breakthrough. Meanwhile, the visual intrigue and complexity of the time-lapse paint-by-pennies approach combined with the too-obvious-to-ignore simplicity of asking people to 'make change' resulted in one of those executions that you really do want to watch again and again."

Loeb enlisted an award-winning post-production team to build the Miami-shot footage into a compelling visual presentation. San Francisco's Phoenix Editorial with senior editor Bob Frisk cut the spot and handled visual effects and and color correction. While Composer/Sound Designer David Della Santa of Volume Music + Sound scored the spot and wrote the lyrics. Since its release, Loeb has fielded inquiries about the music from several unlikely sources, the office of the Mayor of San Francisco, among them. There is now talk of releasing a full-length version of the song on iTunes, with donations benefiting the organization.

Additionally, Pumped for Change has been approached about creating Million Penny Projects in other communities nationwide. "Our goal all along has been to initiate and inspire action," said Peña. "This is a starting point and we're exciting to see where it leads."

The Million Penny ProjectTM is a fundraising campaign that invites the community and local businesses to collectively donate their financial and professional resources for a cause. The current cause is focused on homelessness (food / shelter / clothing). The goal is to raise one million pennies ($10,000) for participating charities. The benefiting charities are Camillus House and Community Partnership for Homeless. Million Penny Project encourages local residents and business's to help to raise one million pennies for a cause to a charity of their choice. The fundraising effort will primarily focus on direct donations to the charities / agencies through the website and supplemented through merchandise sales all made via the website, www.themillionpennyproject.org. For more information call 305-371-3955 or e-mail moreinfo@themillionpennyproject.org.

Million Penny Project 'Make Change'

Agency: Pumped Inc.
Creative Director: Carlos Peña
Co-Creative Director/Writer: Jef Loeb, Brainchild Creative

Production Company: Filmiko
Director: Kenneth O'Brien
Co-Director: Carlos Peña

Editorial/Post:Phoenix Editorial
Senior Editor: Bob Frisk
Assistant Editor: Matt O'Donnell
Visual Effects Artist: Phil Spitler
Lindsay London, producer, Phoenix Editorial

Music: Volume Music + Sound
Composer: David Della Santa

Audio Post: One Union Recording Studios
Engineer: Joaby Deal

"I've enjoyed my role as an editor, but I also wanted to help create a company from the ground up," said Lyne of the move. Indeed, Lyne joins Start in its relative infancy; the company was launched in May 2007, and has been on an upward swing ever since. "Joining forces with Louis ensures that Start will realize its potential," said Redman. "Louis' talent and leadership enable Start to compete with premier editorial houses worldwide."

Lyne rounds out a Start roster comprised of Adam E. Pillon and Dan Succarde. "One of the jobs I feel most strongly about with Start is mentorship," said Lyne. "Dan was one of my assistants, and he's now doing so well," Lyne pointed out. "Adam is coming into his own. The company we want to grow is one where we can all revel in combined success. The cross-pollination of people and talents translates to clients when they walk in the door." Lyne added that Start's editors are "well looked-after and benefit from the best equipment and technology, which adds to their confidence."

"With Louis here, our young editors get a chance to stretch their wings, they feel honored to have Louis' eyes and experience support their perspectives," Redman concurred, and Lyne's experience is considerable. The son of acclaimed filmmaker Adrian Lyne (Unfaithful, Fatal Attraction, Flashdance, Indecent Proposal), Louis Lyne grew up on film sets - and in cutting rooms. "I had unique opportunities to see films being made and coming together in editorial," recalled Lyne, who spent some of his teen years syncing audio for his father's movies.

The early start served Lyne well, and in the spot world, he has made a name for himself as an editor working with helmers at the top of their game: Rocky Morton, Graham Rose, Paul Gay, Andrew Douglas, Danny Duchovny, Thom Higgins, Yael Staav, Leslie Dektor, Kyle Cooper, Blair Hayes, Jeff Zwart, and Peter Chelsom are among the directors whose visions he has helped to realize.

The life of a film gypsy also agreed with Lyne; he has worked as an editor in London, Paris, Barcelona, Istanbul, Toronto, Vancouver, New York, Los Angeles, and Detroit. In fact, it was on what Lyne calls "the-never-ending job" for Pontiac - the carmaker's "Pass it Along" campaign - that he met Redman, and formed a friendship and professional association that has led to this move. Though not a Detroit native, he has chosen to make the city his home.

Lyne's first project at Start is exemplary of the spirit in which he has come aboard. "Ford has given us the chance to work as a team," said Lyne. And it's for the Web, so we get to push the envelope." 

The project also reunites Lyne with producer Team Detroit EP Kelly Trudell, a man who has been very influential in his career, and Succarde's. "Louis is a world-class editor," said Trudell. "He is insightful, talented and trustworthy, and he can master the most challenging editorial projects. We've become true friends as a result of the time we've spent together in the trenches." 

"This is a tremendous opportunity to work with some of his favorite people," Lyne concluded. When I see how well Start has done in less than two years, I'm inspired by our possibilities for the future."

Start is represented nationwide by Marni Halliburton.

CULVER CITY, CA, January 29, 2009 - Full-service media company Bandito Brothers has launched a commercial division, with a directorial roster comprised of Mike "Mouse" McCoy (pict., r.), Scott Waugh (pict., l.), Jacob Rosenberg, and directing team Teton Gravity. Bandito Brothers embarks on the new endeavor with three recently completed projects, for Ford, Mt. Dew, and the US Navy. 

Known for high-octane in-camera action, the company brings to spot work what McCoy calls an A-rating, with the 'A' standing for authenticity. "I've always felt there should be a rating system for action," he said, and indeed Bandito Brothers has the kind of action cred rarely seen in the spot biz. The company works as a team, each member wearing many hats, and operating with military-style precision from a base camp in the heart of Culver City. In fact, Bandito Brothers is among a handful of filmmaking outfits cleared by the US Special Forces to capture intense, bold material in live fire environments. The result is an authentic feel to the film in an era where effects are often excessive and unrealistic.

"We have all grown up in the film business," noted McCoy, a former stunt man and motorcycle racer who starred in the feature length film "Dust to Glory" and won the Baja 1000 and 500 multiple times. "We are athletes, artists, and technologists. We've lived the experience we're capturing on film, so we can bring the viewer that much closer to the action." McCoy often directs alongside Waugh, a second-generation stuntman and filmmaker who was president of Stunts Unlimited for three years before starting the Bandito Brothers brand. Directing team Teton Gravity is considered the top ski filmmaking collective in the industry. Rosenberg, who developed a passion for film and video as a skateboarder in the early 1990s, brings his extensive experience as a filmmaker, author, and digital media expert to commercials, music videos, and shorts. 

"What I like about Bandito as a company is that we have the knowledge and capability to scale to any job in any location worldwide," commented veteran commercial producer Jeff Rohrer, who has come aboard as EP, "and with our in house Full HD post facility it opens many more doors for the longer form projects." Rohrer, a former NFL linebacker who has produced commercials all over the globe and worked with luminary directors such as Lasse Hallstrom, Doug Limon, Alfonso Cuaron, David Frankham, Neil Tardio and Darren Aronofsky, finds himself at home in the Bandito Brothers' world. "There are always multiple cameras rolling, and everybody shoots...it's the way we like to cover action, and the way exceptional talent should be covered." Rohrer rounds out an executive team that includes CEO/CD McCoy, Partner Waugh, CTO Rosenberg, President of Production & Development Lance Sloane, and COO Max Leitman. 

Drawing on their experiences, the Banditos have filmed and designed thousands of action sequences for commercials and films. After years on the set, the group decided to start up their own shop. In addition to their new spot projects, Bandito Brothers will produce "I Am That Man," a scripted action film based on the US NAVY SEALS. Bandito is producing in association with Navy Special Warfare ("NSW"); McCoy and Waugh will helm the picture, which is slated for a summer '09 release.

"I Am That Man" will add to Bandito Brothers' feature film credits, which include "Step Into Liquid" and "Dust to Glory". Several other longform projects are in the works, from highly visible branded entertainment campaigns, to videogames, TV series, and more feature films, among them the realization of "Yucatan," an action-adventure project created by Steve McQueen before his death, and entrusted to Bandito by the McQueen estate. 

Backed by Thomas Tull, Chairman of Legendary Pictures, Bandito Brothers truly is an independent studio. As a creator, producer, manager, and distributor of audio-visual content, the company has constructed a business model that also includes full in-house HD post, which is becoming an extremely valuable asset in the new media landscape.

"As the ad industry evolves and merges more comprehensively with entertainment, we're in a unique position to grow in all directions," McCoy concluded. "And we're always ready to roll."

Bandito Brothers is represented by Unique of Little Gypsy for special projects and on the West Coast. Kitty Monaghan and Kelly Halpine of Monaghan+Halpine rep the company in the Midwest.

LOS ANGELES, CA, January 28, 2009 - Quick, what year is it? An ad agency just tripled the size of its creative department. At the same time, an established client, in a mature business, has an in-house marketing department doing the same. Both are attracting award-winning creatives with deep top-10-agency experience. The promise? An opportunity to land a solid day-rate and never have to endure a staff meeting or even press the flesh with a client. In return, both Agency and Client receive stellar work at maximum cost-efficiency.

Given current headlines, it seems the question shouldn't be what year, but what planet. Yet, it's happening right now, through industry startup OpenPitch. OpenPitch is an online creative exchange, connecting Agencies and Brands with award-winning Creatives.  It's an option so practical and obvious for ad bizzers, it just might fall in the categories of "This could be huge" and "Damn it, why didn't I think of that?"

"It's always a Catch-22, especially in times like these," notes Ron Cicero (pict., r.), CEO and Co-Founder of OpenPitch.com. "Agencies of all sizes need to land new business, but it's tough to take an already overworked staff and put them on pitch work. Both projects can suffer. OpenPitch allows agencies to not only grow a creative department on demand, but also mold it based on the pitch at hand. The site effectively breaks down the financial and geographical barriers to top creative talent."

The web application at OpenPitch allows clients to post an advertising project either publicly or in total confidence. The OpenPitch creative community is then notified, or individual talent asked to pitch privately. Creatives are compensated based on the selection of their winning pitch, or with a typical day-rate, or both. With all projects, pitches AND solutions are kept completely confidential and the transfer of IP rights is systemized.

This process should appeal to agencies looking for more brain power, clients looking to supplement their current agency relationships, or progressive brands requiring high-level creative, but lacking the volume of work to justify employing a full-service agency. This is especially true for companies looking to cross borders, and in need of a one-time, international creative department, whether they are based in the US, or are looking to break in to the US market.

Such a timely approach may never have developed if the founders, Ron Cicero and Brad Townend (pict., l.), didn't have such deep advertising experience. Cicero, a spot and interactive producer, and Townend, a Creative Director and Interactive Designer, have fifteen-plus years of experience in advertising, working with an enviable list of clients such as Apple, Microsoft, NFL, Comcast, Toyota, Puma, and Range Rover, with agencies including BBDO,TBWA/Chiat Day, McCann, Publicis, Saatchi & Saatchi, and more.

"Like any agency, we realize the quality of talent is key," Townend says, "so we have been selective in our invitations, mixing it up between established CD's and promising new talent from multiple disciplines." The site now features teams of Cannes Lion and Clio Award-winning creatives from almost a dozen countries. Artists come from leading agencies such as TBWA Chiat Day, Strawberry Frog, Goodby Silverstein & Partners, 180 Amsterdam, and McCann Erickson, with a combined portfolio of work for Nike, Heineken, Coca Cola, MTV, Bud Lite, BMW, and others.

It's easy to see why the site, which launched in Beta a little over two months ago, has already attracted a healthy mix of advertisers and artists. Among the firm's initial clients is a high-profile manufacturer seeking a creative solution for their latest product launch. "The project details are still under wraps," notes Cicero, "but I can say despite a tight time frame - the project came in on December 15, with submissions closing on Christmas Eve - the client found the solution they were looking for - and met their deadline."

"We've seen the industry from all sides," says Cicero, "and were always amazed that the industry largely responsible for the explosion of the Internet, has never really utilized it to evolve one of their core business processes: the creative pitch." Townend, who has done creative work for diverse brands such as Ed Hardy and Smith MicroSystems, adds, "It's important that both sides win, meaning agencies and clients can harvest many, many more solutions, while creatives are not ‘crowdsourced' out of a living."

"Anyone who has worked in this business awhile will tell you that collaboration is the heart and soul of successful advertising," Townend concludes. "We're just taking the Long Tail and applying it to the ad industry."

PrimalScream's Nicole Dionne Brings Buick 6, Minibar, and Michael Des Barres Together to Cover a Classic

LOS ANGELES, CA, January 26, 2009 - Creating a unique cover of the hit song, "All Right Now," PrimalScream Music has orchestrated a rare jam session that brings together the talents of Lucinda Williams' band Buick 6, alt/indie sensation Minibar, and blues/rock icon Michael Des Barres. The recording is part of a new campaign for 21st Century Insurance via MRM Worldwide/Princeton, airing now.

Originally recorded in 1970 by the British band Free, the new version is an anthem that's infectious and delivers the kind of cred earned not just in the studio but on the road. 

The track was crafted by PrimalScream Music Creative Director and Executive Music Producer Nicole Dionne, who was enlisted by MRM to remake "All Right Now" with "a new flair that sounded as high end and fabulous as the original, but with its own unique approach." Dionne invited her client to LA's Wiltern Theatre to see Buick 6 perform.

The opening act and backing band for Lucinda Williams, Buick 6 (pict., top right) is an ensemble that delivers its own brand of Americana rock and is a popular attraction on tour. "The client got to hear their original music and experience the full range of their sound and abilities," Dionne said. "They flipped." Dionne added that she likes to hear bands perform live to get a sense of what she can do with them in the studio. 

*LISTEN TO THE TRACK*

For lead vocals on "All Right Now," Dionne's mind immediately went to Michael Des Barres (pict., r.). The lead singer of Silverhead in the 70s and a member of Power Station, "Michael added that timeless element of classic rock and blues," said Dionne.

To complement the sound of Des Barres in front of Buick 6, Dionne thought it would be interesting to bring in backing vocals. She turned to Minibar (pict., bottom right), a favorite of KCRW and longtime "Morning Becomes Eclectic" host Nic Harcourt. In contrast to the other performers on the new "All Right Now," Minibar offers an alternative, indie sound. "They've been singing together so long and have developed wonderful ways of harmonizing," Dionne explained.

"To create something that could compete with the original, it made sense for us to work with bands and artists like these," Dionne concluded. "The collaboration resulted in a first-generation version of a very famous song."

Project Credits:

Campaign Title:"Talking Policies"
Air Date: January 4, 2009

Client: 21st Century Insurance
EVP and Chief Marketing Officer: Janet Hawkins
VP, Brand and Advertising: Mike Boyd
Creative Dev. Director: Robert Robin
Executive Producer: Bobby B. Grubic

Agency: MRM Worldwide - Princeton
Producer: Bernie Wesson
Creative Director: Jorge Abascal
Copywriter: Tom Rapsas
Art director: Gabe Wilson

Production Company: H.S.I., Culver City, CA
Director: Simon Cole

Editorial: Union Editorial
Editor: Nick Lofting

Music: PrimalScream Music
Executive Producer: Nicole Dionne

Pictured in top photo (l to r):

"All Right Now" represents PrimalScream's second recent collaboration with Buick 6, coming on the heels of a complete rebrand of network TNT (home to debuting series "Trust Me," which centers around the ad biz). For that project, Dionne flew to New York City to meet up with the band (pict., l.) during a cross-country tour. "We would write and rehearse the TNT songs in the green room at the venue," Dionne recalled, "and then record the band on stage between sound check and their gig. So, it was a rare opportunity to get a live sound and there was an amazing energy on those recordings." The TNT campaign also reunited PrimalScream with Troika Design Group, with whom they worked on the hugely successful Starz! rebrand.

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 product that improves the brand image, communicates directly with viewers, and exceeds our clients' musical aspirations.

BEVERLY HILLS, CA, January 22, 2009 - Content and marketing eGency SLAM is getting a lift from a vlogger who goes by the name LA Sneaker Girl...and who tends to wear next-to-nothing in her videos. That's good news for YouTubers (this sneaker girl is easy on the eyes), and for the newly relaunched LA Gear: the vlogger, whose name is Kamila Kalish, only wears LA Gear sneakers.

"We met Kamila last year, in Las Vegas, at (trade show) WSA," recalled SLAM Partner/CEO Isack Fadlon, also a co-owner of top indie retailer Sportie LA. "She was such a cool person, funny and bright, and we invited her and her mom to a Sneak Peek party for LA Gear." Sportie LA and brand-owner ACI teamed up on the relaunch, reviving many of the brand's signature styles from the 1989-90 Unstoppable line, while updating some colors and materials. "There was a classic jacket her mom loved and then we sent her some shoes for herself and her boyfriend. She wasn't a vlogger at the time - if she had been, we'd have sent flowers too!"

A little good will goes a long way, and while "LA Sneaker Girl" doesn't usually talk about her footwear (actually, she was barefoot in her first video), or mention the brand by name, her latest posting centers on an altercation between Kamila and her boyfriend, who takes exception to her immodesty, and her appropriation of his Star Shooter Hi's, which she's endowed with pink ribbon. 

SLAM, which is exclusively handling all marketing for the LA Gear relaunch, has picked up on Kalish's videos and posted them on its LA Gear blog, LAGearNews.com. Fadlon was especially impressed with her use of split-screen. "YouTube videos have become increasingly sophisticated, and while it's not easy to pull off something like this, if anyone can get stuff done, it's Kamila," he said. 

SLAM has engaged in a slew of marketing efforts for the LA Gear relaunch, from web videos, to billboards, even a custom Mini that makes appearances at LA sports events (most recently, at Staples Center, for the LA Lakers' face-off against the Cleveland Cavaliers). Sales have exceeded all expectations, and a new round of product is expected mid-summer; among the new styles will be a revival of the beloved and much-anticipated LA Gear Lights.

"The great thing about the Kamila story is that we have always envisioned SLAM as a "grass roots eGency, connecting with people," Fadlon concluded. "Here, we connected with one person, and it all took off from there."

"We each paint our own lives. If your work is broad and free, your life will be broad and free, also. That is all."

-Thich Nhat Hanh

LOS ANGELES, CA, January 20, 2009 - You could say that the new music video for Jem's hit song "It's Amazing" was shot at Hearts & Fives in Echo Park, California...or you could say that co-directors Saam Gabbay and Jem ran off to play one day and found themselves immersed in an intense, exhausting, exhilarating, and ultimately, inspiring labor of love. Both are true, and the resulting photofilm is a spirited, affecting montage culled from 25,632 photographs depicting the recording artist in performance - and engaging in a game of dress-up.

"It's Amazing," from Jem's record Down to Earth (Dramatico/ATO Records), is an infectious ballad that has gained added popularity via its appearance on the motion picture soundtrack of Sex and the City. "Often when I write my songs I have a visual for the video right then," Jem notes. "This video went through many different concepts, especially after the song was featured in the movie, but the first and foremost idea I had and loved, was that I would be a ballerina, then a cop, cutting from one to the next as the beat rolls on, so the theme of the song would be captured with a really fun backdrop - 'It's amazing all that you can do...' Plus I love to dress up in my videos!"

The collaboration came about after Jem met Gabbay on Halloween, at a Murakami opening at MoCA. It was a year later that she checked out his site and screened "A Very Sad Day," a photofilm directed by Gabbay, who became engaged in the process while in college. "I fell in love with it," says Jem of the film. "The minute I saw it I knew that's what I wanted to do for my video." "It's Amazing" is the first commercial project Gabbay has done with this technique.

When Jem expressed her desire to co-direct the video with Gabbay, he embraced the idea. "I used to think that creativity was the act of making things, taking a photograph, creating a painting, designing a building," he explains. "Now, I think that creativity is the possibility that is opened up in conversation, in dialogue."

"It was great to work with Saam as he is very open, sharing, and great at explaining things," Jem says in retrospect. "We liaised on everything, he is a whiz with the camera, and we kept our eyes on different aspects of the production on set, so we had each others backs. I think we made a great team. He's also a very talented musician himself." In fact, Gabbay is currently working on a remix of the song. "I thoroughly enjoyed the whole process of production and post," Jem says, "even using the massage roller on Saam's wrists to stop them from cramping!"

"Shooting is a physical experience, it's like doing triathlon," Gabbay notes. "I have energy all day, then at the last mile I start to feel it...my arm was tired from holding a 10-pound camera for 10 hours!" Always pushing the envelope, Gabbay at one point felt a single camera would not suffice. "In one scene, I followed Jem out to the car with two cameras hanging on me, one with a 16-35 f2.8 and one with an 85mm f1.2." Still connected to the moment, Gabbay concludes, "Man, that was the best feeling, two heavy canons and me crawling around a Citroen shooting a pop star who's peeling huge purple butterfly wings off her eyelids."

Gabbay assembled a skeleton crew for the project, handpicked from previous collaborations. "I fashioned a new business model a couple of years ago, and it's coming to fruition now," he explains. "Mine is a network-based business wherein I serve as Creative Director, building a custom team around the client."

The team's on-set adventure - and the ensuing post-production marathon - would have been for naught without the vigorous pre-production process. "We had very little time, two weeks from beginning to end," Gabbay says, "so from the moment we decided to do this I started interviewing Jem and asking about her relationship with the song." Gabbay did test shoots in which he would ask her to place herself in "states of amazing," as he describes it, so he could show her what it looked like on camera. "One of our concerns was what singing would look like in photos so we did a series of tests with Jem singing in my living room. I shot and animated a few different ways until we came up with a solution that worked. At first, I thought it would be cool to have her mouth go in and out of sync as if in conversation, but it didn't really enhance the song so we went for a straight sync instead."

To strike the right emotional chord, says Gabbay, "We engaged in an ongoing conversation. I wanted to find out what she loved, what she cared about, and apply that to the video. That's how all of my photofilms have come to fruition, by establishing trust and leaping from that point, telling the story on the fly. By nature, photofilms are an intimate affair. And I've never been so close to a project as I was to this one."

Click Here for more about Production and Post

LONG BEACH, CA, January 7, 2009 - The unique production capabilities of Damon Live Action, Inc., paired with the talent and expertise of owner/director Tim Damon, were brought to bear in the execution of an ambitious and innovative new running package for General Motors. The project - simultaneously shooting material being used to create national, regional and local commercial campaigns for Chevrolet, GMC, Saturn and Pontiac vehicles - reflects an industry awareness of economic concerns, and a unique approach to addressing those issues. 

The Damon Live Action team, led by Damon and Executive Producer Caroline von Weyher, engaged in a close collaboration with creative directors from ad agencies Campbell-Ewald, Deutsch, Inc. and Leo Burnett, on the project, which required six weeks of preparation.

"Tim did an amazing job with this," said von Weyher of Damon, a top automotive director and still photographer. "On top of shooting the live action concurrently for all four brands, Tim shot stills for each brand to be used in other media, including print and the Web."

Damon cited "the spirit of collaboration" among the agencies and clients involved, something he said "showed not only an amazing degree of dedication to the success of all the brands and shops, but an understanding of the economic climate." He noted that discussion of the project began in August, long before the top execs of the big three headed to Washington seeking relief from the economic crisis. "It's important to recognize that agencies have been trying to find new and more cost-efficient ways of doing things," he said. "People who fly their flag in the automotive industry and are entrenched in this work have been living this reality for a long time, before it became a mainstream story on the network news."

Damon made multiple trips to areas in and around Denver, Colorado, and Salt Lake City, Utah, in search of locations that met the needs of the shoot. "We needed a variety of locales," Damon explained, "from urban to rural and everything in between." Big blue skies were also a priority, and Damon found what he was looking for.

On the shoot, Damon presided over a team of three DP's - Greg Baldi, Bill Bennett, and Thom Cox, supported by 1st AD Scott Luhrsen and a production team - EP von Weyher, Line Producer Nancy Fulton, Production Manager Tim Fermino, Coordinator Kelsi MacIntyre and Assistant Coordinator Cathy Chin - "all of whom played a large role in the success of this undertaking," Damon said. "This was our third package this year working with the same team from project to project, and that was a huge plus here."

There were more than 120 people involved in the production, including teamsters who used 14 tractor-trailers to haul and deliver the picture vehicles to the right places at the right times. Four camera crews were working simultaneously. In addition to running footage for all four brands, Damon shot live action "outdoor studio" footage for Chevrolet (on a separate, nearby set), and still photography for all the brands.

"My experiences on Goodyear really helped to prepare me for this," Damon said. "I recall projects for that client where we'd be working with three or four units at once, shooting stills at the same time." von Weyher noted that while GM has done multi-brand projects before, this was the first time multiple brands were shot concurrently. "In many ways it was a huge chess game making all of this work, delivering each brand its desired look," she commented. "Running footage is not just for dealer spots anymore, and this particular package was very significant because they are re-purposing footage cutting national spots out of it now."

"We know how helpful it is these days for a brand to have a self-contained production company on their side," said von Weyher of the shoot, which called for 100,000 feet of running and outdoor studio footage of GM (Chevrolet, GMC, Pontiac and Saturn) cars and trucks, filming 57 vehicles over an 8-day period. "If you think about all the gear that we own, from cameras to camera cars to motor homes, generators, grip and lighting equipment, etc., we offer a very practical and cost-efficient approach."

Having made all the brands and agencies happy, Damon and von Weyher reflected on the endeavor's bottom line. "It takes most of your fuel to get the plane off the ground," said von Weyher of production. "So prep is a large expense, and transporting the gear  and picture vehicles to location, and so on... in the end, the savings were big." Damon, who has made a career of seeking new challenges and solutions, has been energized by the experience. "It feels like a breakthrough in a way," he said.

SANTA MONICA, CA, December 19, 2008 - Director Marcel Langenegger has joined GARTNER for exclusive US spot representation. He returns to commercials following the 2008 release of his feature debut, "Deception" (20th Century Fox), a thriller starring Hugh Jackman, Ewan McGregor and Michelle Williams. Prior to joining GARTNER, Langenegger was repped by Biscuit and A Band Apart. His notable spot work includes projects for Mercedes, Intel, Nissan, Microsoft, and Doctors Without Borders, for which he won a Gold Lions at Cannes. 

"When I first viewed Marcel's work, I saw a well-rounded director with gorgeous film, epic ideas, and a whole lot of heart," said GARTNER Executive Producer Elaine Behnken. "His stylistic diversity is ideal for the GARTNER roster. When you factor in his vast experience and reputation in the industry, it's clear he's a perfect fit for us."

"GARTNER is a very solid company, a good size, but with a familial and personable feel," said Langenegger of the move. "Also, coming from Europe, I love to shoot there whenever possible, and Rich and Don's international ties are very attractive."

After attending art school in Geneva, Switzerland, Langenegger moved to Los Angeles in 1995 to pursue a Masters in Film at Art Center College of Design. He signed with Propaganda Films in 1998, and was included in the Saatchi New Directors Showcase at Cannes the following year. It was a haunting and beautiful spot for Chanel No.5 that earned him inclusion in that showcase; he has since become acclaimed for his distinct cinematic style, impeccable art direction, and poignant storytelling.

Throughout his career, Langenegger has strived to defy easy categorization. He also likes to keep things fresh on set, as evidenced by his recent Swiss Postal Service spot. "It was interesting to work with so many dogs," recalled Langenegger of the charming and beautiful ad in which eager canines rush to greet their respective mailmen. "I'm not a 'dog director' per se, and in the end I threw steaks around and they just chased the steaks."

While humor often wends its way into Langenegger's work, it is the challenge of a spot project that he relishes the most. "What I loved about National Insurance was the scope and the boldness,  it's very unsafe territory," the director said. Shot in Acapulco via Leo Burnett, the spot offers a breathtakingly beautiful depiction of a cliff diver - the payoff, however, is not a tourism plug, but one for insurance as the diver meets an calamitous end.

"I think I've been able to put a stamp on everything I do, regardless of the genre, or the team involved," said the director, who added that his feature experience was an opportunity to underscore his facility not just with visuals but with dialogue.

Langenegger rounds out a GARTNER roster comprised of James Gartner, Raymond Bark, Mike Bigelow, Riess/Hill, Theodore Melfi, Jim Weedon, and Shona Auerbach.

Partners/Executive Producers Don Block and Rich Carter, and Executive Producer Elaine Behnken, preside over the company, which is represented by Where's the Boards on the West Coast, Renee Case and Co. in the Midwest, and simpatico. on the East Coast.

Airing now in :30 and :60 versions, the spot opens on a TV news team swarming a "famous" athlete (Mark Teixeira? Nah, who has THAT kinda money?). Through the media din and camera flashes, the reporter poses the question, "You went from averaging four points a game to 28 points a game. How do you explain that?"

The athlete, who can't be bothered to remove his sunglasses or detach his cell phone from his ear, responds coolly, "Sleep" - what else?

The proceeding scenes - a musical group attributing its "song of the year" award to sleep, a talk show host prescribing sleep to a family in crisis - all showcase just how important sleep can be.

Contrary to typical sleep-related spots, which are generally tired in nature and actually show people in bed, Sleep to Live has runway models yawning and dozing off mid-catwalk and a football player scoring a touchdown and then collapsing to the ground sucking his thumb, showing that sleep is fashionable and provides the energy needed to score.

"I spent some time putting up songs to the spot and I was really vibing with the energy of an energetic, rock track with heavy guitars, handclaps and driving percussion and bass," recalls PrimalScream Creative Director and Executive Music Producer Nicole Dionne. "I immediately thought of working with some of my favorite rock musicians - Zac Rae, Blair Sinta, Joseph Karnes [all members of the LA band Pedestrian] and [UK-based] Nick Lashley on lead guitar."

The resulting track is a crunchy, energetic, guitar-and-drum-heavy rock jam that the audience couldn't sleep through if it tried.

"The idea of sleep to live is that when we get a good night's sleep, we have the energy to do anything - why have a sleepy track?" Dionne says. "Music motivates us to do many things, and in this spot we see all that. It seemed like a perfect fit to create a hit with rock elements that were really moving, exciting and motivating."

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 product that improves the brand image, communicates directly with viewers, and exceeds our clients' musical aspirations.

CREDITS:

Client: Sleep to Live
Spots Title(s): "Next Big Thing"
Air Date: 12/7/08

Agency: The Richards Group
Writer: Tina Johnson
Agency Producer: Bridget Fontenot
Art Director: Terence Reynolds

Production Company: @ Radical Media
Director: Dave Meyers
DP: Colin Watkinson
EP(s): Frank Scherma
Producer: Steve Fredrickz

Editorial: Rock Paper Scissors
Editor: Damien Clayton
Animation/VFX: A52

Music: PrimalScream Music
Executive Music Producer: Nicole Dionne
Producer: Scott Burton

Audio Post: Lime Studios

BEVERLY HILLS, CA, December 1, 2008 - Raging Artists, Inc., a firm known for specializing in Public Relations for the Advertising Industry, has announced the launch of its Image Broadcasting Services.

"Image Broadcasting is a synthesis of Public Relations and Web Marketing that raises general and specific awareness of a brand via the Web, while pursuing traditional PR objectives based on that exposure," explained company Founder/CEO Hesh Rephun. "For ad bizzers seeking greater trade exposure or acknowledgement beyond the biz, in the mainstream, IB garners organic search engine positions for specific terms, establishing a brand's dominance in its field, allowing us to more readily pitch a company and its personnel to all outlets."

The development of Image Broadcasting is something in which Raging Artists engaged as a means of redefining the parameters of PR in the Internet Age. The firm has a team in place dedicated solely to this pursuit, led by CTO Justo A. Diaz. "Raging Artists has developed IB over a period of two years, applying its prinicples to the brands of clients as well as its own brand," said Diaz.

Raging Artists also successfully licensed the infrastructure to marketing firms like SLAM, creating/marketing original content and garnering search engine positions for select footwear brands such as Asics, Reebok, PF Flyers, K-Swiss, and others. Using the IB infrastructure, SLAM is currently working on the relaunch of classic sneaker brand LA Gear.

Diaz said the company will offer initial consultations for IB, and can consult with clients on website design, structure, and content,  which he described as "critical components of any successful SEO/branding initiative."

NEW YORK, NY, November 7, 2008 - Acclaimed editor Adam Jenkins has joined bicoastal Union. Jenkins, who comes over from Cut and Run, counts ads for Panasonic and Zed.com, as well as the Brad Pitt-Anjelina Jolie feature Mr. and Mrs. Smith among his most notable projects. His first assignment with Union is a Tooheys Beer campaign, for frequent collaborators Glue Society.

""I'm excited by the people and the prospects at Union," said Jenkins of the move. "Adam personifies the kind of company we want to be - not just his work but who he is," said Union Partner/Executive Producer Michael Raimondi. "He's hungry for interesting work, and wants to work in an environment with people who strive to do meaningful projects whether they are commercials, films or documentaries."

"Adding Adam to the roster makes my job easier," noted Union's New York-based Executive Producer Caryn MacLean. "Along with Sloane (Klevin) and Geordie (Anderson), Adam makes it a pleasure to come to work every day. I have always admired his work and I'm very happy to be collaborating with him." 

The New Zealand-born Jenkins attended university for a year, but left seeking inspiration. "I started painting houses for a living," he recalled, "and ended up painting sets." He worked his way up through the ranks of production and post in Australia, heading to London as an editor at Final Cut. Jenkins enjoyed a successful four-year run editing spot, clip, and feature projects, before relocating to New York. "I don't mind the cold," he mused, "but I was tired of being wet and never seeing the sun!"

A meeting with Raimondi in a SoHo café, in which the two discussed their shared love of cycling, led to more formal discussions about a new home for Jenkins. "The thing I love most about Adam's work is that his choices are unexpected," Raimondi said. "I look forward to viewing his cuts, to the little surprises." For his part, Jenkins is happy to be bringing his energy and all those surprises, to Union. "With the established presence in LA and the burgeoning operation in New York, joining Union allows me to be a part of making something great even better. We're working hard to make this venture all that it can be."

Jenkins' recent work includes a music video for The Virgins "A Private Affair", helmed by Matt Lenski, and an ESPN NASCAR campaign for director Jon Watts.

LONG BEACH, CA, November 7, 2008 - Director/Cinematographer Doug Taub has joined