CULVER CITY, CA, January 8, 2010 - SWAY Studio has added two key staff members to its team: Executive Producer Jason Cohon, and Director of New Business, Addie Hall. Cohon most recently served as a VFX producer at Asylum. Prior to joining SWAY, Hall was as an Account Executive at Ascent Media, with a hand in both marketing and sales for Method Studios, Company 3, and Encore Hollywood.

"My goal with SWAY is to continually expand the role of digital technology in our industry," explained Mark Glaser, owner and creative director of SWAY Studio. "Jason and Addie bring professionalism, experience, and forward thinking to key leadership roles at SWAY. Their energy and excitement has been a positive influence already."

Jason Cohon

Cohon, whose career spans an agency tenure as well as live action and VFX production, grew up in Oregon with the best film education around: rain. Having to stay indoors for the better part of his childhood, Cohon said, he "became obsessed with all genres of film, including commercials." With this in mind, he embarked on his education at Loyola Marymount University in Los Angeles. After a couple of detours, including minors in Japanese and German and a year abroad in Japan, Cohon began his 15-year film career in earnest at ad agency Rubin Postaer and Associates.

In 1997, Cohon transitioned into the experiential arena, producing everything from stunts to live concerts. Joining Digital Domain in 2004, Cohon became the studio's go-to live action commercial producer. This eventually morphed into VFX producing, first at Digital Domain and then Asylum, where Cohon had the opportunity to work with some of the top innovators in the industry such as Joseph Kosinski, Rupert Sanders, McG, and Malcolm Venville, and clients including Coca Cola, Ford, Microsoft, BMW, VISA and Disney.

Cohon brings a unique perspective to the studio, having straddled both sides of the production divide. In coming aboard to helm SWAY, he said with a smile, "The downside to running such a busy studio is that I`m not able to go surfing every day. My goal is to make SWAY so successful that Mark doesn't have time to go surfing, either."

Addie Hall

A Tennessee native and Pepperdine Graduate with a BA in Advertising and Sociology, Hall's diverse career began with a 2-year stint selling advertising to small businesses. She next took a job with prestigious design studio, Prologue Films. "It was just a start-up in Kyle (Cooper)'s Malibu home. There was no shortage of challenges there. I did everything from to ordering toilet paper to PR to writing creative treatments for pitches," she laughed.

Hall went on to do freelance marketing and brand consulting for names such as the Shrine Auditorium, Byron by Byron Williams, and Madison Hildebrand of Bravo's Million Dollar Listing. She transitioned into post-production at VFX house R!OT, working in business development and marketing under Managing Director Michael Taylor. When R!OT merged with Method Studios, Hall moved into an Account Executive role at Ascent Media corporate, where her role was a collaborative effort to manage the marketing and sales for Method Studios, Company 3, and Encore Hollywood.

"It feels very nice to be back in an independent studio...a place where my ideas are easily put into motion," Hall said. "Mark has built a studio that fully encourages creativity and innovation, which is a difficult thing to maintain for a company that's been around as long as SWAY." When asked what challenges this new role will bring, Hall replied, "We stay very busy here with auto work, which is great because we excel in that arena; however, part of my new role is to let people know that we do much more."

About SWAY

SWAY studio is among the premier animation, effects, and design studios in North America. Dedicated to advancing the artistry of visual content while pursuing fresh creative ideas across multiple media platforms, SWAY's world-class creatives use cutting-edge, innovative technology to produce unforgettable imagery.

SWAY Studio recently completed virtual stunt driving work for the feature "2012," directed by Roland Emmerich ("Independence Day," "The Day After Tomorrow"). This involved driving a stretch limousine over devastated and shifting road surfaces created by an apocalyptic earthquake using the physics-based simulation within the proprietary Drive-A-Tron^TM. The film opens nationwide November 13. Other recent credits include a project for the new Lexus HS250h Hybrid, campaigns for the 2010 GMC Terrain and 2010 Ford Taurus, interactive content for HyundaiGenesis.com and HyundaiUSA.com, and the groundbreaking hi-tech cover shoot with Kanye West for the April/May 2009 issue of Complex Magazine.

DETROIT, MI, December 9, 2009 - Venerable visual effects and post-production house Universal Images took Best-in-Show honors at the third annual 'D Show'. In a ceremony held December 2 at the Max M. Fisher Music Center, UI was honored for its work on the History Channel's "The Art of War," which received a nomination in the CGI/Animation category. Additionally, Universal Images won The Craft Award for "Battle B.C.," another History Channel presentation.

"As the complexity of the work grew, we expanded our toolset to meet it," said UI's said UI's Christopher Wirth, who served as Executive Creative Director on the project. "It's our duty as artists to bring it to the next level." A two-hour special, "The Art of War" explored the tactical theories of philosopher-general Sun Tzu as applied to the Civil War battle at Gettysburg, the Allied D-Day assault of WWII, and the Tet Offensive of Vietnam. These scenes, as well as ancient Chinese warfare from Sun Tzu's own time, were all dramatically recreated. "Each segment posed unique and distinctive challenges, requiring both 2d and 3d animation," Wirth explained. "We stylized the pieces to work together as a whole, while also giving each it's own unique look as the show moves through history.  The goal is putting an audience deeper into the action."

When it comes to longform, Universal Images itself has been delving deeper "into the action." Well-known for its work in commercial post-production, specifically the automotive advertising field, UI has completed more than twelve hours of non-fiction entertainment programming in this past year. Based on roughly 40 minutes of VFX created by UI for its "Journey to 10,000 B.C.," the History Channel awarded the UI team 8 one-hour episodes of "Battle B.C.," followed by "The Art of War."

In addition to the work for which it was honored, Universal Images brought its skills to the creation of the D Show opening sequence, employing an augmented sculpture technique that has been in development at the company. UI team members Dan Land and Gabriel Hall have created the opening for all three D Shows, beginning with the innaugural event in 2007. The D Show celebrates outstanding work done by the Detroit advertising community and the local creative community at large.

LOS ANGELES, CA, December 7, 2009 - Production collective Deek has launched in Los Angeles, under the aegis of directors Dan Reid and Brinton Jaecks. With a strong background in visual effects, Jaecks (via Logan) has contributed to projects such as the opening credits of "Zombieland," Apple Sonic (Coldplay), Apple Paint (for the Nano), the trailer for Sony Resistance 2, and Metal Gear Solid "Werewolf". Reid, a graphic designer-turned editor-turned director, has worked with varied clients like P&G, Adidas, and Gatorade. As Deek, the pair are joined by what they describe as "a small, rotating army of VFX artists." Deek's all-new spec reel consists of humorous, effects-driven spots for Duvel, IBM, Trident, Tobaccula, and D&G.

Both Jaecks and Reid (pict., l-r) graduated from the Rhode Island School of Design, an experience that inspired their current partnership. "The brand of creative thinking the school preaches encourages experimentation and, above all, selfless collaboration," Reid said. "We formed Deek to show what we can accomplish as a group, as opposed to the work we've done in our individual careers."

The directors and artists at Deek like to work on a spot from production through post, Reid said, saving a client precious time and money. "Having Brinton on set as both a director and FX supervisor is immensely helpful in that regard," he explained. Deek is currently meeting with production companies and representatives.

Reid added that Deek has developed technological innovations designed to be both cost-effective and to advance the filmmaking medium. "We've invented a robotic camera capable of performing an industry first," he noted, "and we're very excited to take it for a test drive on a commercial or music video."

"I've encountered two kinds of companies as I looked for a new home," McCullough (pictured, bottom r.) says of the move. "Those who are forward-thinking, embracing the various media platforms out there, and those paralyzed by fear. I'd much rather be with people who've figured out how to tackle today's challenges and who have the resources to win the game. And that's Square Planet."

Indeed, the Square Planet moniker is derived from an understanding of today's marketplace. "Whether it's TV, Web, or Mobile, it's a four-cornered window," says Square Planet Executive Producer Caroline von Weyher. "We bring tremendous resources to the integrated production of content for every screen."

Damon started shooting print, broadcast and web content nearly a decade ago, for clients such as Boeing, Goodyear, Toyota, GM, Nissan and Honda. With his legendary eye for framing, lensing and lighting, and a staggering collection of customized gear, Damon pioneered this approach with clients long before it became the hot topic it is today.

Damon has seen a sharp increase in his multiple platform work over the past few years. He says his experiences helming countless projects for agencies and clients in the US, Japan and Europe informed the creation of Square Planet. "It started with shooting in Asia and Europe - if we were going to ship a car to Portugal or Dubai, they didn't want us to just shoot the print or the live action," Damon recalls. "They wanted everything - digital, web, broadcast, print, CG." Now, he notes, agencies in the US and worldwide are looking for the same turn-key production.

"It's never been more relevant than it is today," comments Damon, who says having one director/photographer overseeing the creative content for multiple platforms makes for seamless execution and insures creative continuity. "I've been hired many times to come to a live action set and shoot the print; it's always short-changed, squeezed in at the end of the day with less than ideal lighting conditions. On our sets, print and live action are given the attention and care they deserve."

"We're not the only company simplifying the process," von Weyher is quick to point out. "What distinguishes Square Planet is the actual experience we've had shooting multi-platform work over the past several years, and the fact that our artists are part of the company - they're here every day, not as part of the ‘non-exclusive' relationships everyone is forming these days."

And the gear? All owned and customized by Damon. "It's not a vendor situation," von Weyher says. "Our skill set and experience, combined with our incomparable arsenal of proprietary gear and equipment, really sets us apart from the competition."

Always at the forefront regarding the latest tools and techniques, Damon has amassed that arsenal over the past several years, much of it custom built for integrated production: from RED, Canon D5 and Spherion cameras to high-speed camera cars (ML63, Porsche Cayenne, Hummer, Ferrari and Polaris), mountable digital still and motion cameras and other proprietary rigs, lighting, grip and motor homes. The company's latest acquisition is a dual mounted stabilized head that shoots live action and print simultaneously. "This is important because people are pulling still images from the RED, and while you can get a decent image, there is nothing that comopares to a single capture image from a still camera" says Damon. He says he always brings what is best for the creative; his goal is not to super-size production, but to liberate the creative from budgetary restraints. "In this economy, if you're not careful, creative can take a backseat to the budget," the director says. "I feel it's my job to be the voice for the creative and to put creative first. When you hire Square Planet, it's one creative voice."

Square Planet recently wrapped a multi-platform Chevy project that included CG for broadcast and web, and print, which Damon shot in-tandem with the live action every day. Speedshape (Venice Birmingham) was brought on to help execute the CGI portion of the project. "The Chevy project is a perfect example of the Square Planet dynamic." says von Weyher. The Chevy project was Damon's fourth package for the brand in the past two years.

"I can't imagine that it's going to take long for new clients to appreciate the scope, value and turnkey capabilities Square Planet brings to the party," says Damon, who is currently shooting a multi-platform music video project for Tori Amos.

Pictured Above: Multi-platform productions for Camaro and Nissan Z.

Production Company: MERGE@Crossroads Films
Director: Wayne Isham
Producer: Dana Marshall

Editorial: SOLID
Editor: Richard Cooperman
Producer: Dwen Blumenthal

Post/VFX: ingenuity ENGINE

SAN FRANCISCO, November 11, 2009 - Little Red Robot Films, the San Francisco-headquartered commercial production company, is now represented for West Coast sales by Anastacia Maggioncalda of Branch Represents. Little Red Robot is currently working on a Campaign for EURO RSCG, and is in production on a Music Video for Domino Records.

About Little Red Robot

Founded by Creative Director / Director Seth Shukovsky in 2003, Little Red Robot is a full-service production company, providing Direction, Live-Action Production, and Post/VFX. Little Red Robot has executed campaigns for Coca-Cola, Y+R Team Detroit, Ubisoft, Electronic Arts, Universal Music, VH1 and many more.

About Little Red Robot

Founded by Creative Director / Director Seth Shukovsky in 2003, Little Red Robot is a full-service production company, providing Direction, Live-Action Production, and Post/VFX. Little Red Robot has executed campaigns for Coca-Cola, Y+R Team Detroit, Ubisoft, Electronic Arts, Universal Music, VH1 and many more.

SANTA MONICA, CA, November 5, 2009 - Flame Artist/Compositor/Graphic Artist Joseph Grosso, of Arsenal FX, Santa Monica, CA, recently completed work on the Hype Williams-directed Jay-Z video "Empire State of Mind." The video, shot on location throughout New York City and featuring Alicia Keys, has been building up momentum since its world premiere on Game 1 of the World Series which pitted the New York Yankees against Philadelphia Phillies (the Yanks took home their 27th penant last night).

The cut is from Jay-Z's new album The Blueprint 3 and Hova's never seemed so much at home as he does in this music video, which has understandably become an instant anthem for the Big Apple. For her part, Keys is picture-perfect in Times Square, playing a black Yamaha grand piano adorned with a NY skyline and the Statue of Liberty.

Keys, who performed the song with Jay-Z at Yankee Stadium for game two of the Series, said of the clip, "It is a masterpiece video. The way it's put together, it is so New York. You totally get it and understand it. It's artistic. It's hard. It's beautiful. It's like everything."

"Empire State of Mind"
Director: Hype Williams/HSI
Online: Joseph Grosso/Arsenal FX

BURBANK, CA, November 4, 2009 - In the new film, "Gentlemen Broncos," a teenager attends a fantasy writers' convention only to discover that his idea has been stolen by an established yet faded novelist. It should come as no surprise that this quirky and fanciful movie is the latest endeavor of director/co-writer Jared Hess (Napoleon Dynamite, Nacho Libre). The film is set in Hess' native Utah, which explains why he chose Burbank-based post production studio AlphaDogs for the offline.

"One of the uniques aspects of this production was that they started the offline edit on Final Cut Pro in Utah, then moved over to Avid when they came back to LA," explains company CEO & Founder Terence Curren. The production used two of AlphaDogs' Avid Media Composer edit systems connected on the company's Avid Unity shared storage.

"Our extensive experience with both platforms, and our ability to seamlessly facilitate moving from one to the other, was a real draw for them," Curren says. "Having in-house tech support available is another time-saving element that entices people to edit at Alpha Dogs."

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 adopter's edge, testing and assimilating leading technologies to keep ahead of the pack with solutions such as the RED camera; AlphaDogs was 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 and 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.

LOS ANGELES, CA, November 4, 2009 - Greg Kuehn, Creative Director and Composer for Peligro Music and Sound, is scoring "CNN Heroes, an Allstar Tribute," a yearly special on CNN celebrating "Ordinary people with Extraordinary impact." Kuehn wrote the theme music for the show, and is scoring 10 short films about the finalists who will be honored this year.

The show and short films were produced by 10th Planet Productions, and feature the work of several celebrated documentary directors, including Matt Ogens, director of "Confessions of a Superhero," which Kuehn also scored. The show airs Thanksgiving night, at 9pm ET. 

NEW YORK/SANTA MONICA, October 29, 2009 - "Where the Wild Things Are," directed by Spike Jonze and based on Maurice Sendak's classic children's story, debuted in the top spot at the box office this week. Acclaimed editor Jim Haygood, a partner at bicoastal Union, shared editorial duties on the film with colleague Eric Zumbrunnen. Haygood's other film credits include "Fight Club," "The Astronaut Farmer," "Panic Room," and "The Game." 

"This is one of those projects that as soon as you hear the details - based on one of my favorite children's books, Dave Eggers and Spike writing, and getting to work with Spike and Eric Zumbrunnen - you just say yes," said Haygood. "Where the Wild Things Are" chronicles the adventures of Max, a disobedient little boy sent to bed without his supper, who creates his own world: a forest inhabited by ferocious wild creatures that crown Max as their ruler. "Every project is like a child - you love them each in their own way - but this movie is really the one closest to my heart."

Haygood joined Union in March 2008 and was named Partner this year. On the spot front, his recent projects include 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.

LOS ANGELES, CA, October 19, 2009 - Directors Rob Bindler and Michael Sugarman have signed with Savant Film for exclusive US spot representation. Bindler comes over from nonfiction unlimited, while Sugarman was previously represented by Rabbit.

Rob Bindler

Since the launch of his career with the quirky and engaging documentary "Hands On A Hard Body," Rob Bindler has garnered acclaim for a host of spot work, including projects for Coke, Nokia, Texas Lotto, Carefirst/Blue Cross, and VISA/NFL.

"I was drawn to Savant because they are a nimble and well-rounded production company," said Bindler of the move. "They can handle big productions and the more rough and tumble projects. (Partner/EPs) Jamie (Miller) and Joby (Barnhart) are great guys you want to hang out and work with, and they've cultivated a roster of directors doing distinctive work."

Bindler said that, while he became known very early on for documentaries, his approach to spotmaking has always been driven by story, character, and emotional truths rather than "reality." "My background is varied, from graphic design to dramatic writing," he said, adding that "Hands On A Hard Body" began as research for a narrative feature. "The research turned into a doc, which turned into a career." 

The combination of a strong visual sense and the pursuit of truth is evident in the breadth of Bindler's work. His Coke campaign (Wieden+Kennedy, Portland) for example, ranges in tone from heartfelt to quirky; Carefirst/Blue Cross ( Arnold Worldwide) is straight-forward documentary spotmaking with real people speaking candidly; his 10-spot VISA/NFL campaign ( BBDO) is more visual, visceral, and humorous; and his Nokia work is distinguished by what might be described as "stylized reality."

"Authenticity can come from anywhere, whether it's real people, or an actor, with - or without - a script." He pointed out that many agencies have come to him not for docu-style projects per se, but because "they appreciate that documentary work is very mercurial and nuanced. The margin of error is narrow to get the right performance."

Michael Sugarman

A Harvard grad from Brookline, MA, Michael Sugarman was always interested in film, something his staid and cautious family viewed as a "ridiculous career." After doing his time in finance in NYC, the matter was settled. "It was instructive in that I realized finance wasn't what I wanted to do." Sugarman pursued an MFA at NYU's Tisch School of the Arts, where he directed his first spot, a spec for Coke.

Titled "Awakenings," the ad depicts a catatonic ward in which the patients mysteriously perk up around Coca-Cola. "It's important to be comfortable with your point of view," Sugarman said of the spot. "I had just re-watched the film with Robert De Niro and Robin Williams, and there's something absurd about the wheelchair ball game. I like absurd things that are kind of plausible."

"Awakenings" found its way to the Cannes Young Directors showcase, where it took top honors. Once Sugarman had completed his spec reel, he signed with Rabbit.

Sugarman's short films and his commercials for Nike, Carolinas Recycling, and PDFA have been honored in several international festivals and competitions. He has been featured as a new director in Shots magazine, and other honors include the Cannes Lions shortlist, the Anvil award, and 1st Prize at the Viral Film Festival in New York.

"I'm attracted to the shadowy side of things and the darker side of humor," said Sugarman. "A spot is so much funnier if you aren't sure something is a joke. The moment you start winking at the audience its just not as funny. So I like to play with the viewer's expectations."

"Jamie and Joby have great taste," Sugarman said of his decision to join Savant Film. "It is as important for the production company to have good taste as it is for the director. Agencies come to you for your artistic sensibility, something that is born out in their roster, and I'm proud to be a part of it."

Sugarman is currently completing a spot for Land's End, and is at work on a secretive Web project involving "puppets you've likely heard of."

SWAY Studio has a well-earned reputation for standout photo-real car work, and a recent project for Lexus, via Team One, allowed the studio to take its high-end, broadcast quality work into the interactive space.

For its first collaboration with Lexus and Team One, SWAY created more than a dozen demonstration movies marketing the high-tech features of the new Lexus HS250h luxury hybrid. The demos depict the Lexus hybrid driving through minimalist, hyper-real city, urban, and country environments.

The project, which called for some 300 VFX shots in six weeks, came with a unique and varied set of challenges. According to SWAY VFX Supervisor Aaron Powell, "We started the project with very little to go on, aside from the CAD data of the car." Fortunately, the agency was very open to creative collaboration. SWAY brought in Art Director Serge Machial to assist with concept development. "Team One was very receptive, and it helped our team, who were working on the previs," Powell says. "As is the case with so many projects these days, we were up against a tight deadline so any time we could help speed up the process we jumped right in."

"The incorporation of a great deal of motion graphics into nearly every shot compelled us to develop an appropriate pipeline with the partner company supplying most of the motion graphics," adds Powell. "This included 3D, After Effects, and Nuke. In the end, with three different color variations on the car, we had produced about 18 minutes of demos. Lexus was so happy with the results that they want to use some of them for broadcast as well."

"We shattered all of our previous records in terms of how fast and efficiently we got this done," says SWAY Founder/Creative Director Mark Glaser. We're constantly adapting and evolving. This project was a surge forward in our throughput capability."

One example is SWAY's work for Mini this summer: an all-CG HD broadcast campaign, a first for that car-maker. SWAY brought its talent, skill, and efficiency to bear on the project, completing three spots in four weeks. "We did some really fun, aggressive driving on that one," Glaser says, referring to the SWAY's Drive-A-Tron^TM technology. Among SWAY's other recent automotive milestones was the first-ever all CG driving shot for BMW.

Glaser and his team recently completed virtual stunt driving work for the feature "2012," directed by Roland Emmerich ("Independence Day," "The Day After Tomorrow"). This involved driving a stretch limousine over devastated and shifting road surfaces created by an apocalyptic earthquake using the physics-based simulation within the proprietary Drive-A-Tron^TM. The film opens nationwide November 13. Other recent credits include a 2010 Ford Taurus campaign, interactive content for HyundaiGenesis.com and HyundaiUSA.com, and the groundbreaking hi-tech cover shoot with Kanye West for the April/May 2009 issue of Complex Magazine.

About SWAY
SWAY studio is among the premier animation, effects, and design studios in North America. Dedicated to advancing the artistry of visual content while pursuing fresh creative ideas across multiple media platforms, SWAY's world-class creatives use cutting-edge, innovative technology to produce unforgettable imagery.

For more information, visit www.swaystudio.com

Agency:Team One, Venice, CA
CD:Jon Pierce, Tim Meraz, Phil Glist
AD: Vince Murray
CW: Madu Kalyannaraman
Product Specialist: Robert Jordan
Account Executive/Product Specialist: Michael Matsumura
Management Supervisor: Ryan Payne
Account Executive: Nicole Peyraud
Associate Project Manager: Dana Philp
Project Manager: Pilar Leff
Business Affairs: Janet Anderson
Broadcast Coordinator: Robin Alpers

Visual Effects: SWAY Studio
Creative Director: Mark Glaser
VFX Supervisor: Aaron Powell
CG Supervisor: Marko Mandaric
Art Director: Serge Machial
EP: Meredith Machial
Producer: Jason Cohon
Production Coordinator: Aaron Abt

Artists: Art Sayan, Cesar Chavez, Steven Wang, Rob Glazer

Initial Work Includes McDonald’s Broadcast and WET Viral Campaign

LOS ANGELES / SAN FRANCISCO, September 25, 2009 - In the changing world of advertising, it takes a monster to see a campaign through pre-production, production, post, and the multiple platforms via which projects are now distributed. Hence, the advent of Creative Monster Productions, a full-service production company for the digital age. The company launches with a number of broadcast projects, and a hot (actually, a "WET") viral campaign. Founded by noted VFX Supervisor/Digital Artist Grant Anderson (pict., right) and finance veteran Bryan Gambogi (pict., far right), and with offices in Los Angeles and San Francisco, Creative Monster offers production, VFX, and online integration services under one roof. Adding to the combined expertise of Anderson and Gambogi is the presence of Executive Producer Scott Flor, and partnerships with VFX companies Identity FX in LA and Evil Eye Pictures in San Francisco, as well as interactive production outfit C3i3, also in SF.

First up for Creative Monster are back-to-back broadcast projects for McDonald's out of Stern/OH and a three-spot viral campaign via Ayzenberg/CA, for WET, the new game developed by A2M for the Xbox 360 and PS3 platforms.

"Years ago, it might have been a natural progression for me to open my own visual effects shop," explained Anderson , who recently served as the Stereoscopic DFX Supervisor on Cloudy With A Chance of Meatballs and CG Supervisor on Beowulf 3D; he's also been a CG Supervisor and Digital Artist on some of Sony Pictures Imagework's most successful movies, including the Spider-Man trilogy, The Matrix 2: Reloaded, Lord of the Rings 2: The Two Towers, and The Aviator, and former Sr. Engineer for Apple. "Today, the applications of technology to advertising are vast, and commercial production in particular has been in need of a new business model. So, we've created that model."

Anderson became acquainted with the new media marketplace early on, while working in the Skunkworks division at Stan Lee Media. The company's vision of integrated marketing was ahead of its time, and Anderson was charged with the task of finding new forms of storytelling online, including cross-platform projects that bridged film, television, and the web; non-narrative interactive fiction; and 3d storytelling. "Most people were still on dial-up," Anderson laughed. "But now the technology has caught up and the goal is to be more than a production or VFX company, to offer a more complete vision while keeping an eye on the client's bottom line."

With his eye on Creative Monster's bottom line is Co-Founder Gambogi, a Sonoma Valley native with years of experience in the Capital and Credit Markets, working with such prestigious companies as Credit Suisse, Barclays Global Investors, Washington Mutual Securities, and Duetsche Bank. "It's so appropriate that we're coming out of the gate with a project like the WET virals (screen grabs, r.)," said Gambogi, who follows three generations of theatre owners (his great-grandfather founded what is now North American Cinemas, Inc. in the 1920's) into the entertainment field. "It has everything that we're interested in - great creative and production value, VFX, online integration, and interactivity. It shows what we and our partners can deliver in terms of creative and budgetary value." Gambogi added that the gaming world is "a hard crowd to win over. Their embrace of the work is extremely gratifying."

The WET and McDonald's projects were helmed by Jamie Sterba, whose additional work includes projects for Dell and the Ohio Lottery. He is one of five directors on the roster at Creative Monster, along with Mike Goedecke, Harry McCoy, George Wieser, and Peter Fuszard. "Part of our approach is seeing an entire project through with one director and a singular vision," Anderson said. "Our roster is rich with talent perfectly calibrated to get the job done, whether it's traditional broadcast or new media. We've been selective, looking for directors who bring something unique to the company." Goedecke, for example, is a visual storyteller who integrates VFX into his work for Budweiser, SONY, and Lexus; McCoy, on the other hand, is a lifestyle director known for eliciting strong performances from real people and kids, whose reel highlights include Samuel Adams and Blue Shield of California. Where Sterba is an up-and-comer, part of the new generation of spotmakers, Wieser has years of experience as a DP and is transitioning into directing, having recently completed a spot for Hoover/Target. Fuszard is an auto director who also works in the world of extreme sports, bikes, and motocross; his clients include Honda, Acura, Bank of America, and Billabong.

Instrumental in assembling the roster, and overseeing production for Creative Monster, is Flor, whose experience includes executive tenures at iconic production companies Headquarters Films and Propoganda. "Grant and Bryan have formed this company at exactly the right moment," said Flor, adding that from a production standpoint, Creative Monster has a definitive edge. "We all know that the commercial production world has changed. We have the benefit of starting with the new dynamic in mind, and have capabilities to deliver and leverage content for broadcast, film, online, and mobile."

Gambogi said that Creative Monster's plans include producing long-form branded content and feature films, in addition to projects for broadcast and the Web. "I'm a fourth-generation movie guy," he mused. "We came into this endeavor with a slate of features in development, and will have something up on the silver screen before too long."

Shapiro was introduced to No Smoke by fellow director Adam Jones. "I'd met Andrew a few years ago and wanted to work with him; to find that he was the EP Adam had been raving about was wonderful," she said. "Commercials have always been a part of my professional life, and I had been looking forward to returning to the medium," Shapiro noted of her brief break helming a feature. "Certainly, from a marketing point of view, there's a lot to consider and many more platforms to explore in spotmaking. And No Smoke is attuned to all of that, from smaller digital pieces to bigger, more traditional projects."

CULVER CITY, CA, August 13, 2009 - If you're an ad agency or client in the automotive world, you may well have dreamed of a one-stop shop that refines the process of producing industry-leading content for commercials, content footage, branded entertainment, and product placement by servicing all of these needs under one roof. This dream has become a reality in the form of The Garage, a cost effective, seamlessly-integrated approach to car content and positioning. Devised and overseen by a pit crew of highly seasoned Automotive and Production professionals, The Garage has rolled open its doors in Culver City, under the auspices of full-service media company Bandito Brothers.

"Clients are more conscious of the money they spend on advertising - you now have cross-brand shooting at once, and it's hard to define a means of executing it," said Sumer Friedrichs, The Garage's Detroit-based EP. "As tier one and tier two advertisers struggle to put together the spots they need, The Garage model offers a perfect solution."

A veteran agency producer formerly of Campbell-Ewald, Friedrichs is uniquely positioned to give The Garage an agency perspective and client interface. "As a producer, I sought a combination of excellence and flexibility," she said. "All elements may not be running on a simultaneous calendar but need to connect. The Garage can mold the production as needed, with top-of-the-line talent handling everything from running footage and concept spots to car transport."

The Garage is comprised of just such a team. On the production front, Bandito Brothers offers its vast expertise mounting complex physical productions for clients such as Ford, Mt. Dew, and the US Navy. Known for in-camera action and smooth execution across tough terrain, Bandito Brothers also brings full in-house post-production capabilities to the party, encompassing digital asset management, along with its experience in long form branded content and product placement.

"Our M.O. is to get out in front of a challenging situation and solve problems," noted Bandito EP and veteran commercial producer Jeff Rohrer. "We have all been doing this long enough to know how to maximize the client's dollar by integrating the process and offering value on top of talent and organization. Instead of going out three times for many of the same assets, the client and agency can efficiently do the same work for significantly less money. Over the past year we have tested The Garage model and it works amazingly well. Happy clients, happy agency. "

Still photographer Boyd Jaynes comes to The Garage with a remarkable career and unique eye for capturing many diverse aspects of the automotive culture that elevate his work into an art form. A southern California resident who was, in fact, born in Detroit, Jaynes graduated from the prestigious Art Center College of Design in Pasadena, California. He has produced award-winning commercial work for Nissan, Infiniti, Kawasaki, Saleen, BFGoodrich and countless print publications including Automobile, AutoWeek, Road & Track and others. Jaynes' first book, Shelby Cars in Detail, was recently recognized as a finalist for the Motor Press Guild's annual Dean Bachelor award for outstanding journalism, as well as gold metal winner the Independent Book Publishers IPPY award.

"The Garage's progressive approach to automobile-centered productions is an exciting new opportunity for like-minded gearheads like myself to collaborate in the future," explained Jaynes. "However, I think the real benefit will come in the work the Garage produces for our clients."

Likewise, photographer Vic Huber has made the automobile a major focus of his 28 year career. Beginning with editorial shooting for the major car magazines, Huber worked his way through the ranks to become a leader in the field of advertising photography. Among his many notable projects is a nearly 20-year relationship with Marlboro Team Penske/Leo Burnett Advertising as well as the recent launch of Toyota's Venza and the 3rd Generation Prius Hybrid via Saatchi and Saatchi Los Angeles.

"I am excited about working with The Garage, because these are people I have admired for a long time and who are the best at what they do," Huber said. "These guys are focusing on the content rather than adhering to the production model that has existed for so long. I see what The Garage is doing as a return to realism in production and an example of what is possible when talented people get together.""

Shelly Ward Enterprises and its Pursuit Systems Division are a unique part of the full-service Garage approach. SWE is one of the biggest prep companies in the world, providing a full range of services including transportation, vehicle prep, sourcing, fabrication, mechanical effects, custom paint and peelcoat from their three acre facility in North Hollywood, CA. Pursuit is well-known in the production community for their state of the art camera cars and gyro stabilized Pursuit Cranes and have recently extended the brand with Pursuit Europe.

"We are very excited to be able to offer our clients a new way to leverage their production dollars," said Pursuit CEO Mike Johnson. "By packaging all the tools and services that they need in a new way, the Garage concept provides quantifiable benefits."

"This entity is born of a typical approach to new business - there's a problem out there that inspires a solution," explained Bandito Brothers COO Max Leitman. "From a cost-efficiency perspective, we remove layers of markup, consolidate services, and take a team approach. We will put together the team to best execute the project, maintain the brand's integrity, and keep the money on the screen."

Leitman added that, given the broad spectrum of experience among its players, the Garage paradigm lends itself to expansion into other areas. "We are knowledgeable across the full media spectrum," Friedrichs concurred, "so we understand the big picture, and that is valuable in any segment of the industry."

"Chris is on a very short list of comedy directors I've followed for years," said Partner/Executive Producer Phyllis Koenig, who presides over Über with Partner/Executive Producer Preston Lee. "His physical humor always makes me laugh, and you can see the great discipline and intelligence in his work. As a leader and a director, he's a fantastic addition to the Über roster."

"When I decided to make a move, I met with a lot of companies - Phyllis, Preston, and I had good mojo immediately," Hooper said. "In the process of me doing my due diligence I found that people had nothing but good things to say about them and their company. They're passionate, aggressive and great people at the same time." He added that everything about the company is a good fit for him, down to the website. "It is a bit feminine, but having been an illustration major in college, it appeals to me," he mused. "It embodies a lot of what Über Content is about; quality with approachability, professional yet very playful."

While he'd considered careers as an architect and painter, Hooper's years of art school in Vancouver, Canada, and the Art Center College of Design in Pasadena, led to tenures at Chiat Day (Toronto and LA), and a Senior Art Director gig at Goodby. "I loved working on the agency side and understand the limits and parameters of the job. As a director I love the challenge of developing work while staying mindful of the strategy," he said. The move into directing began at Tool, and, nearly five years later, he joined Bob. "I've always enjoyed being at companies on their way up, it's exciting to watch a company grow and to grow with it," Hooper said. "Creatively. Not height-wise or in terms of girth."

While some directors shy away from the comedy director label, Hooper embraces it. "Besides typos, I can find humor in pretty much any script" he explained. "I can't know if the agency or client will buy it, but I throw it out there." Koenig said that Hooper's combination of visual artistry and comic timing are an ideal blend. "Comedic spots need both the right look and the right tone in order to work," she said. "And comedy is so subjective, because one person's hilarity is another's...well, how can i say it? Not hilarity."

For his part, Hooper said, comedy calls for humanity, vulnerability, and great casting. "I feel most creative when I have time to play with an actor and take a script to a place it might not otherwise have gone," he explained. "Many times there are nuances you'd never see on paper or even in an audition."

Koenig concluded that, in addition to Hooper's many talents, his ability to appreciate the humor in life may be the point at which he and Über connect the most. The director concurred. "In this business it's almost mandatory to have a sense of humor," he said, "and laughter is my drug of choice."

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. Hooper rounds out a company roster comprised of Jordan Brady, Jeffrey Fleisig, Luis Gerard, Jason Kohn, Dave Laden, Marc Schölermann, and Steven Tsuchida.

SANTA MONICA, CA, July 27, 2009 - Award-winning editor Laura Milstein has joined the staff of bicoastal Union. Most recently, she was on staff at Blue Rock Editorial. Born and bred in NYC, Milstein is well-known for her work in fashion and beauty, for clients such as Covergirl, Clairol, Avon, and Max Factor. She also has cut the ongoing "Trusted Everywhere" campaign for Duracell via Acme Idea Company/Connecticut, and is presently at work on a spot for that client, her first assignment with Union.

The move reunites Milstein with Union's East Coast Executive Producer Caryn MacLean, who was her longtime producer at Blue Rock. "I am thrilled to be joining the team at Union. It is great to be a part of a blossoming New York office...And I can't complain about being so close to the Prada store."

"With Laura's arrival, we've added a known entity," said MacLean, "a renowned editor with the right mix of talent, energy and enthusiasm."

Milstein was born into the film business. Her father is a documentary filmmaker and her mother a producer. "As a kid I worked for them and held every job from floor sweeper, to Assistant Camera, to Assistant Editor," she recalled. Milstein also appeared in front of the camera, as an Ivory Snow baby, and in many other commercials. It was editing that stuck. "I love editing because it is the perfect combination of working alone and collaborating with others," she said.

Aside from working at Aegis Productions, her family's company, Milstein earned a BA in Geology and Fine Arts/Theatre ("I thought I'd be Jacques Cousteau on land," she mused). After traveling the world working on documentaries with Aegis, she felt it was time to step out on her own. Milstein got into commercials, working with Jeff Dell Film Service, first as an editor, then as a partner in Shoot First.

Milstein is interested in exploring the storytelling and lifestyle aspects of her work. "I have been fortunate throughout my career to work with talented people," she concluded. "I look forward to working with the very creative team at Union."

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 Milstein, Klevin, and Anderson, the Union roster is comprised of Partner/Editors Jim Haygood, Einar, and Jay Friedkin, and editors Nico Alba, Jinx Godfrey, Nicholas Wayman-Harris, Adam Jenkins, Marco Perez, Pablo Piriz, and Paul Plew.

NEW YORK/SANTA MONICA, July 17, 2009 - Editor Marco Perez has joined the staff of bicoastal Union. He comes over from Mad River, having just completed a run of new work for HBO, Tostitos, Microsoft, and Levi's and recently was nominated for an AICE award. His first project at Union is for American Family Insurance via Element 79 and directed by Michael Haussman.

"With the state of the economy, and with all the shifts in the industry, it seemed like a good idea to have another Italian by our side," mused Union Partner/Executive Producer Michael Raimondi. "In truth, Marco's a really astute and intelligent editor, and when he became available, people were recommending him to us from all sides. It was just meant to be."

"Union is the best fit for my personality and my talent," explained Perez, who began his career in his native Rome and has since cut all over the world. "I feel at ease with all of the people at Union and the level of work that the editors do."

Perez also cited the company's bicoastal presence and its new arrangement with Marshall Street Editors in London as a draw. "I'm a director's editor, and I have many directors in London and across Europe with whom I love to collaborate," he said. "When I was based in Europe, I would work all over - Amsterdam, Barcelona, London -  it's the future of editing, and Michael understands that completely."

While he counts newer work for Tostitos ("We Wait") and Levi's ("Onion Peel" and "Knock Out") among his favorites, Perez also considers his "Singing in the Rain" video for Usher a high point. "We did this a couple of years ago, as part of a series of pop stars offering an homage to movie music," the editor recalled. "This number was the only one fully produced into a music video, and it was just a marvelous recreation and update of the song."

It's no coincidence that a tribute to movie musicals would strike a chord with Perez, who traced his origins in editing to his childhood experiences at the opera, and his subsequent role as an assistant director in the theatre. "I was working on a show that had a lot of projection involved and I began looking into it and learning about it. And I came to love film as a means of capturing and sharing a beautiful experience, which I'd wanted to do as an excited kid coming home from the opera." 

Mentored by the famed Pielguigi Samaritani, Perez spent seven years working in major Italian and international theaters, before studying film at Rome's Centro Sperimentale di Cinematografia (the National School of Cinema) in 1996. He moved to Milan and began work as a commercial editor for directors such as Wim Wenders, Michael Haussman, Mathias Zentner, Laurence Dunmore, Federico Brugia, Luca Maroni, Owen Harris, and many others. A move to Paris followed, and Perez traveled to London, New York, Los Angeles, Toronto, Auckland, Cape Town, and more to ply his craft. He relocated to New York in 2006.

Perez has complemented his spot work by editiing documentaries, television shows, and independent short films, some of which have appeared in various international film festivals. Balancing editing with writing, Perez co-wrote the screenplay "Ferdinandea" with Luca Maroni and Suzanne Reyenke, based on an idea from Wu Ming. "Ferdinandea" won the National Prize for Best Screenplay from the Italian Ministry of Culture in 2006. Perez made his directorial debut in 2007 with "Cose che facciamo per amore" ("Things We Do for Love"), which earned a commendation from the Jury at the 51st London Film Festival. It has since been featured on TMC Classic Shorts.

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 Perez, Klevin, and Anderson, the Union roster is comprised of Partner/Editors Jim Haygood, Einar, and Jay Friedkin, and editors Nico Alba, Jinx Godfrey, Nicholas Wayman-Harris, Adam Jenkins, Pablo Piriz, and Paul Plew.

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 faced 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.