HOLLYWOOD—Commercial and feature film director Enda McCallion has signed with The Traveling Picture Show Company (TPSC) for exclusive representation in the United States. McCallion, who was born in Northern Ireland but has spent most of his career in the U.S., is known worldwide for a highly inventive visual storytelling style that draws on cutting edge visual effects, classic film techniques and a sharp sense of humor. He is the recipient of three D&AD Awards for outstanding direction as well as Clio, Cannes and DGA awards.

McCallion said he was attracted to TPSC by its business model which encompasses both advertising and entertainment media. “I did my research and I really like what they’ve got going,” he said. “I like the energy Kevin, Marie and Chris bring to it,” he adds, referring to CEO Kevin Matusow, executive producer Marie Soto and partner/director Chris Woods. “It reminds me of Ritts Hayden, the company where I began my American career.”

McCallion also notes that he was impressed that the company features in-house post production services, including visual effects through acclaimed boutique provider Unit Zero VFX. “I like the fact that we can do pre-production, production and post all within the same walls,” he says.

Soto describes McCallion as a major talent whose creative skills and ambitions perfectly align with what TPSC looks for in a director. “We are a very director-based company,” Soto observes. “Our intent is to keep a small roster of multi-dimensional directors and to support them with world-class resources so that they can explore their interests in many areas.”

McCallion, who initially trained as a fine artist, began his directing career in London. His first spot, for men’s underwear maker Brass Monkey, won a Bronze British Advertising Award. He later gained international acclaim for Judderman, a spot for Bacardi’s Metz brand and London agency HHCL & Partners, that was inspired by early cinema and shot entirely with a hand-cranked camera.

McCallion moved to the United States in 2001 and began a highly successful run with Los Angeles-based Ritts Hayden. He later joined Epoch Films, which represented him both in the U.S. and the U.K. Most recently, he was represented by Great Guns. Along the way, he has directed work for such brands as McDonald’s, General Motors, Opel, Renault, Coca Cola, Bank of Ireland, Nestea, Fanta and Citroen. Most recently, he directed a series of sports-oriented ads for the cable channel Versus.

McCallion made his feature debut with Hit and Run, which was released in 2009 by MGM. He currently has a second film in development.

Among McCallion’s better known work is a spot promoting television coverage of golf’s Ryder Cup. Produced on an epic scale, the spot shows crowds gathering, at first a few dozen, later thousands, in cities all over the world. “We shot that spot all over the world, but it was all done in four days,” McCallion recalls. “I shoot very fast.”

“It was a very heavy post spot, but it doesn’t look like post,” he adds. “I like to use post production, but I try to integrate it early to make it look like there is no post at all. I wanted people to look at that spot and wonder, ‘Wow, where did all the people come from?’”

About Traveling Picture Show Company
The Traveling Picture Show Company is an award-winning production company located at 1531 N. Cahuenga Blvd. Los Angeles, CA 90028. TPSC intends to carve out a new path by being an agile, market-driven competitor in the ever-evolving world of commercials, interactive and digital media production. TPSC delivers fresh and innovative content in a team-oriented, collaborative setting, offering clients the highest level of creativity without sacrifice. Backed by over 30 years of combined experience, TPSC is built to challenge the current establishment and stand apart as a major player in the industry.
For more information call 323.769.1115 or visit www.travelingpictureshow.tv

Director shoots both broadcast spots and photography for print and transit ads.

HOLLYWOOD— Dark Light Pictures director Gil Cope has directed a handsome, new campaign for Chicago’s Rush University Medical Center announcing a 14-story hospital opening this month. Conceived by SPM Marketing & Communications, the spots feature intimate portraits of doctors and nurses discussing the new facility and what it means for the community and its healthcare.

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New 3D BULLET RIG shown with Panasonic HPX250 cameras. The most affordable, modular 3D beam-splitter made. Adustable IO (3.5″), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment. Fits easily on Steadicam, handheld mode (shoulder mount incl), EasyRig, jib and any tripod. Weighs just 15 lbs. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other cameras. Visit www.3DFilmFactory.com

3D Film Factory Introduces the All-New, Handheld 3D Rig Designed to Capture Incredible, Accurate Stereoscopic Images on the Move

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the world’s lightest, most affordable, hand-held 3D rig – the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld, Steadicam, Easyrig, or tripod filming.

Priced at a fraction of other professional 3D rigs (under $5K), this compact beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking. It’s features actually surpass that of other more expensive rigs. For more information on the 3D Bullet Rig visit www(dot)3DFilmFactory(dot)com

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all – tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 13 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105
XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 – 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established in 2008 by award-winning filmmakers and veteran stereographers, the 3D Film Factory has been the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

Mothership director David Rosenbaum teamed with OgilvyWest to tell a simple story about a complex concept in a “Robotarm” for Cisco that broke during the NFC Championship broadcast on January 22. Despite a four-week timeline, the all-CG spot delivers film caliber computer animation that is entirely photo-real.


The commercial depicts a cheerfully aware group of self-sustaining automotive assembly robots as a metaphor for Cisco Intelligent Networks that can fix and diagnose themselves. Nine unique robots star in the spot, all designed to emulate the look of classic factory machinery enhanced with distinct characteristics. Synchronized to Gary Numan’s “Cars,” the robots drill, rivet, screw, weld and hand body parts off to one another. The set was entirely built in CG, based on reference photography from modern automotive plants.


Rosenbaum collaborated closely with OgilvyWest co-chief creative officers James Dawson-Hollis and Bill Wright to approach the spot as if it were a live action shoot. Instead of shooting with cameras on set, they worked alongside Digital Domain’s previs team to frame up shots and work out compositions with rough animations.


“From the beginning we knew we wanted to use a factory metaphor to tell the story of complex computer systems that can diagnose and fix themselves,” said Rosenbaum. “Together with the OgilvyWest team we took that idea to a new place—doing away with a traditional assembly line, creating robots with distinct personalities and bringing them closer together so they could interact. In the end I think we were able to humanize the technology and make it more understandable.”


“The nature of the schedule forced us to work in an unorthodox way on this project,” added VFX supervisor Aladino Debert, also a Mothership director. “Doing look development and modeling while simultaneously animating, lighting and compositing, relied heavily on the technical and artistic prowess of our seasoned team and ability to turn around photoreal rendering very quickly.”


About Mothership
Hybrid commercial production company Mothership creates advertising, branded content, and entertainment for screens of all sizes. A sister company to Digital Domain, Mothership represents top global creative talent and enables them with all of the resources and expertise of the world-class, Academy-honored studio. Mothership creates the content, strategies and campaigns that take ideas from concept through completion, to roll out brand experiences across multiple media platforms. http://www.mothership.net


About Digital Domain
Digital production company Digital Domain was founded in 1993. The company has created visuals for more than 80 movies, including Titanic, The Curious Case of Benjamin Button and TRON: Legacy and hundreds of commercials. Its artists have earned multiple Academy Awards®. Digital Domain recently completed visual effects for Thor, Transformers: Dark of the Moon and Real Steel and is in production on Jack the Giant Killer, 47 Ronin and a full slate of commercials. Digital Domain is headquartered in Venice, California with studios in Vancouver, San Francisco and Florida. http://www.digitaldomain.com


CREDITS


Credits for: CISCO “ROBOTARM”


Directed by: David Rosenbaum


Client: CISCO


Agency: OgilvyWest


Chief Creative Officers: James Dawson-Hollis, Bill Wright
Associate Creative Directors: Jeff Heath, Dennis Lee
Agency Producer: Eric Rasco
Agency President: Heather MacPherson
Account Director: Efren Gonzalez
Account Management Supervisor: Sarah Tabbush


Production, Animation, Editorial & Visual Effects by: DIGITAL DOMAIN


Ed Ulbrich: President, Commercial Division; Executive Vice President
Tanya Cohen: Executive Producer
Scott Gemmell: Head of Production
Aladino Debert: Visual Effects Supervisor
Lee Carlton: CG Supervisor
William Lemmon: Producer
Alex Michael: Coordinator
Fred Fouquet: Editor
Colin Woods: Editor
Brian Creasey: Generalist, Previs Artist
Tim Jones: Generalist
Trisha Mcnamara: Generalist
Val Sinlao: Generalist
Anthony Ramirez: Generalist
Rick Thomas: Animator
Stephan Brezinsky: Animator
Ruel Smith: Animator
Tom St. Amand: Animator
Adrian Dimond: Technical Director
Derek Crosby: Technical Director
Tom Briggs: FX Artist
Adrian Graham: FX Artist
Cody Williams: Motion Graphics Artist
Jeff Heusser: Nuke Compositor, Flame Artist
Scott Hale: Nuke Compositor
Niles Heckman: Nuke Compositor, Previs Artist
Sven Dreesbach: Nuke Compositor


Music:
Composition: Gary Numan “Cars”
Re-record: kinseywhitehouse


Sound Design: Henryboy
Sound Designer: Bill Chesley
Producer: Kate Gibson


Mix:
Rohan Young, Lime Studios

CHICAGO—Partner and editor Brian Sepanik of The Colonie has completed a Special K spot with Leo Burnett Chicago just in time for the new year.

Scales focuses on the Special K Challenge and stresses the tagline, “What Will You Gain When You Lose?” With the ultimate goal of changing the conversation on weight loss, Scales aims to inspire women to participate by using visuals of women celebrating after seeing their results on the scale. The spot opens with shots of individual pairs of feet nervously preparing to step onto their respective scales before hesitantly doing so. As the numbers waver on the scale, they settle on, not a number, but positive, uplifting words such as “joy.” “drive,” “pride” and “laughter.”T he faces of the women then appear for the first time as they excitedly rejoice after receiving inspiration.

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Original has signed director/cameraman Mark Dektor for exclusive representation in the United States. Dektor has been directing for twelve years, following highly successful career as a director of photography. His credits include American Express, Dove, Suave and Fisher Price, and much of his work involves real people, often in testimonial or documentary style scenarios.

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On The Heels of His Highly Acclaimed Spots For Volkswagen and Norte Beer, Diego Panich Makes The Move To New York And Joins Wild(child)’s Roster Of Commercial Editors

 

 

New York: The recent wave of lauds from US ad media and Facebook viewers for Volkswagen’s ‘Duel,’ and Norte Beer’s ‘Photoblocker’– two spots with original points of view and clever, unconventional approaches to storytelling – attest to the universal appeal of the fresh artistic sensibility that Diego Panich brings to the commercial arena. Cut by Diego Panich, one of Argentina’s premiere editors, the spots showcase a breathe of talent long recognized by Wild(child) Editorial, the New York company that forged a relationship with Panich and has been representing him in the US since 2009. Yvette Pineyro, who founded her company as a creative resource for global editorial talent, has announced that Panich will make the move to New York in January to join her award-winning Flatiron-based editorial boutique.

 

“I’m always looking for creative talent to complement Wild(child)’s global roster of editors,” says Pineyro. “Diego is an extraordinary multi-dimensional talent who brings a level of emotion and power to his editing that makes him a perfect fit with the US commercial market. Diego brings an incredible rhythm to his work that draws from his background as a musician, and his quirky sense of humor translates to a range of comedic storytelling – from subtle, dry wit to over-the-top funny.”

 

“This has been a banner year for Diego – his work has been showcased in a steady stream of high-profile spots, including ‘Rock Star City,’ featuring Lenny Kravitz and ‘Rabbit’ starring Kate Moss for Basement, and ‘Join The Dance’ and ‘Green Tea,‘ two commercials featuring actor Hugh Jackman in Lipton Ice Tea’s new campaign,” notes Pineyro.

 

“And now the recent accolades the Volkswagen and Norte Beer spots have received, and recognition in Creativity’s ‘Top 20 Spots’ (‘Photobuster’) and Adweek’s ‘Spot Of The Day’ (‘Duel’,)” adds Pineyro.

 

‘Duel,’ a :30 out of DDB Argentina for Tiguan Park Assist, creates an unexpected mood and feel to showcase the dry humor of an unexpected storyline about a driver’s experience with the auto-assist parking feature during a standoff over a parking spot.

 

Luciano Podcaminsky, the internationally acclaimed director of the new Volkswagen spot, (represented in the US by Landia and Radical Media,) has a long collaborative relationship with Diego, and once again tapped into his talents for this commercial. Panich found the pulse of the story, and brought his wry sense of humor and dead-on timing to the shaping of the scenario into a captivating story that can almost stand alone as humorous short-form entertainment – while still delivering the product’s message in a memorable way.

 

‘Photoblocker’ for Norte Beer, out of Del Campo Saatchi Saatchi/Buenos Aires, introduces another piece of technological wizardry – a ‘smart’ beer cooler wit sensors that can detect a camera flash and generates a flash of its own that ruins the photo – ensuring that an undesirable photo of the beer drinker won’t find its way to the social network. The spot takes place in a club where just such an attempt to infringe on the privacy of a patron enjoying a Norte Beer is thwarted by the devise – and once again Panich’s gift for crafting stories with wit and humor comes through.

 

“I’m looking forward to moving to New York and partnering with agency creatives in the US,” says Panich. “I’m also very excited about working at Wild(child) Editorial. Yvette and I have forged a great relationships, and I couldn’t imagine working at a company more vested in bringing a global perspective to the US commercial arena.”

 

Diego Panich’s is an acclaimed editor working in the national and global commercial arena. His roster of work includes award-winning spots for Peugeot and Gatorade, ‘Rabbit,’ starring supermodel Kate Moss and ‘Rock Star City,’ featuring music icon Lenny Kravitz – both for Basement. Panich’s high-profile commercial ‘Nike Surgery’ garnered a Bronze Clio in 2008, and his spot for MTV, entitled ‘Father + Daughter,’ was awarded the Cannes Silver Lion. Most recently the editor lent his talents to Lipton Ice Tea’s newest global spot, ‘Join The Dance,’ featuring actor Hugh Jackman and directed by Luciano Podcaminsky out of @Radical/Stink, NY.

 

About Wild(child) Editorial:
Wild(child) Editorial is a NYC-based creative boutique with an award-winning roster of in-house editors complimented by a select roster of global talent. Its diverse talent offers advertising agencies and content creators in the general and multicultural arenas the ability to connect with a wide range of cultures and styles.

 

Wild(child) Editorial and its sister design company, Resident Creative Studio, have created an open-architecture collaborative environment driven by a passionate collective of accomplished editors, FX artists, animators, directors, creative directors, and producers. Their shared creative vision provides a seamless concept-through-completion approach to commercials, films, music videos, promos, graphic packages and broadcast programming – all under one roof.

 

Wild(child)’s recent work includes spots for Nike, Verizon, Givenchy, Candies, Time Warner, Frontier Airlines, P&G, Wendy’s, USA Network, as well feature films, such as Al Pacino’s Wilde Salome, which will be presented with the Glory Award at the 2011 Venice Film Festival, and City Island, starring Andy Garcia, which took home the Tribeca Audience Award.

 

Wild(child) Editorial, a 100% minority woman-owned company, was launched by editor Yvette Pineyro in 1995. It is an active member of The National Minority Supplier Development Council (NMSDC.org/nmsdc/), The Women’s Business Enterprise National Council (WBENC.org) and The Central Contract Registration (CCR.gov).

 

To view Diego Panich’s reel or for more information about Wild(child) Editorial (www.wildchildpost.com) contact executive producer Elissa Muddell (elissa@wildchildpost.com, 212.725.5333).

 

For information about Resident Creative Studio, (www.weareresident.com) contact director of development Liz Ludden at liz@weareresident.com, or 212.683.7377.

 

NY General Market contact for Wild(child) Editorial and Resident: Roxanne and Co., (roxanneandco@mac.com, 212.679.9797; Wild(child) Editorial + Resident Creative Studio’s US Hispanic Market: Bettina Abascal. Momentum Reps (Bettina@momentum-reps.com) 646.723.4599, (c) 305.776.6295.

Provides grading services for new PSA campaign directed by Darren Aronofsky.
NEW YORK— Technicolor – PostWorks New York provided post production services for a new series of public service announcements that vividly evoke the dangers that methamphetamines pose for teens. more

Los Angeles — Aero Films executive producers Lance O’Connor and Skip Short constantly seek ways to up their game. Their company has an enviable roster of A-list directors and is ranked among the country’s most successful producers of television commercials. Not ones to rest on their laurels, they recently launched a bi-coastal post production division, Aero Studios, that offers editorial, visual effects and animation services. As a result, the company is steadily extending its reach beyond traditional television advertising into long form content, web media and other emerging platforms.

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