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.

Detroit/LA: Team Detroit took the Ford Mustang Customizer to the next level this year, creating an interactive experience that not only invites users to help design their dream muscle car, but also gives their designs a life outside of the automaker’s website, in social media. The agency once again tasked Speedshape with transforming the car, options and accessories into high quality photo-real assets that capture the imagination of car enthusiasts and draw them into this immersive interactive experience.

 

 

A hybrid design/development company best known for its cutting-edge VFX-driven commercials, Speedshape again shows how an artistic eye and technical ingenuity can transform traditional digital rendering from a process to a craft. Rooted in animation, the company’s multi-disciplined team of designers and producers brings a level of artistry to computer imagery that is distinguishing Speedshape’s work in the digital arena.

 

Speedshape’s VFX team began the job at Ford’s live shoot, where they captured the HDRI environments for the three locations in which the 2012 customizer would reside. They then created all modular elements required to build the full range of trim levels, as well as the hundreds of accessories and options – including the wheels, grilles, Ford racing performance parts, factory and custom colors, body kits, and graphics.

 

 

After completing the modeling and data prep for each of four different models: The Mustang V6, GT, Boss 302 and the Shelby GT500, as well as the massive quantity of options, Speedshape took all the assets to a photo real finished quality, matching the lighting and environments captured during the shoot.

“Having a sophisticated approach to asset management and a fluid, customized pipeline in place is key to keeping a job of this scope efficient and cost-effective – and maintaining the same pristine photographic quality and lighting values for every asset, ” says Speedshape’s CG Supervisor, Mike Ward. “We integrated back-plate images to maximize the flexibility and intuitive functionality of the Customizer.”

 

“Our focus on the management and maintenance of files, scripts and software ensures that our scalable assets can be repurposed and seamlessly integrated, year after year, without running into software or hardware conflicts,” added Ward.

 

Team Detroit fully loaded this year’s Customizer with new features that make playing around with the infinite combinations of colors, accessories and options almost a video game-like experience. Once completed, cars can be posted on Facebook where users can opt to go into ‘battle mode’ and compete against each other for top ranking based on the number of votes their design receives from other participants.

 

“Speedshape and Team Detroit have built a strong creative partnership over the last few years. It’s great to work with a client that collaborates with us throughout the creative process, and is so committed to making each generation of the Customizer more innovative and cutting-edge than the year before,” says Speedshape’s Executive Producer, Mike Albert.

 

Speedshape provided all of the layered CG assets, 2D smoke and burnout graphics for the website and delivered final layered files for all parts, stripes and decals and delivered it to Firstborn where the live site was developed and programmed.

 

ABOUT SPEEDSHAPE:
Speedshape/CGI + VFX
Speedshape/Interactive Design + Development
Speedshape/3D Stereo Film

 

Speedshape is a multi-disciplined CG/VFX, Interactive and 3D Stereo company dedicated to providing advertising agencies, brands and motion picture clients with innovative creative content in a seamlessly integrated full-service creative environment tailored to their specific needs. Our collective of multi-talented artists, designers, digital strategists and producers bring artistry and technical ingenuity to the creative development and crafting of inspired visual content.

 

Since the launch of our flagship Detroit-based facility in 2003, our award-winning company has expanded its footprint with satellite divisions in New York, Venice Beach and London, creating an open-architecture national – and global – creative network that traverses all platforms with cutting-edge content.

 

Speedshape’s client roster includes_General Electric, Mercedes Benz, Sports Authority, Bosch, Ford Motor Company, Jack Daniels and Duncan Hines. Speedshape’s recently launched 3D Film division debuted its services with The Weinstein Company’s feature films, Spy Kids: All The Time in The World, Escape From Planet Earth and Piranha 3DD

 

For additional information contact Speedshape’s Account Director, Chad Cooper at 248.282.0200, or visit http://www.speedshape.com. To learn more about our 2D-to-3D stereoscopic conversion, contact Frank Rainone (East Coast) or Julie Currin (West Coast) at 248.282.0200.

 

Speedshape(Detroit) 30300 Telegaph, Suite 300, Bingham Farms, Michigan, 248.282.0200, detroit@speedshape.com; Speedshape (Los Angeles) 200 Mildred Avenue, Venice, California, 210.822.8182, losangeles@speedshape.com;Speedshape (New York) 99 Hudson Street, Suite 200, New York, New York, newyork@speedshape.com: Speedshape (London) 4 Kingly Street, London, WiB 5PE, United Kingdom, +44.207.440.2578, london@speedshape.com.

 

CREDITS:
Client: Ford Motor Company

 

Project: 2012 Ford Mustang Customizer

 

AD AGENCY: Team Detroit
Project Manager: Chris Steele
Program Manager: Amy Daneke
Account Manager: Andrea Gontina
JWT Account: Anthony Biondo
Information Architect: Stacie Sheldon
ZAAZ Analytics: Reem Anani
Tech Lead: Chad Dattilio
Strategy: Amanda Douglas
Creative: Jennifer Powers
Creative: James Robinson
Creative: Sue Driscoll
Art Buyer: Kim Harris

 

CGI DESIGN + PRODUCTION: Speedshape (Detroit/NYC/Venice Beach/London)
Executive Producer: Mike Albert
CG Supervisor: Mike Ward
CG Supervisor: Linden Vennard
Producer: Dawn Giddings
Technical Director: Jared Tripp
Designer: Josh Hamman
Designer: Cory Brent
Designer: Rob Braithwaite

 

DIGITAL PRODUCTION: Firstborn

Hollywood Studios Jump on New Technology

OOBAXS (pronounced Out of Band Access), the console access authority for data centers and broadcasting today announced that it is bringing High Definition (HD) KVM DVI Draco matrix switches capable of mixing both CATx and fiber optic connections between source and target to the US market. The switches are manufactured by IHSE Germany, a leading developer and innovator in high speed, high definition DVI and KVM/Video extension and switching solutions.

OOBAXS, one of Hollywood’s leading technology integrators will provide installations, support and guidance on deployments at numerous post-production facilities. “The Draco series is the fastest core switching product on the market,” said Alan Frank, technology strategist and founder of OOBAXS. “IHSE’s willingness to be a responsive partner with their end-users has led to the evolution of a product that is changing the way movies are made.”

The Draco offers DVI video extenders over CATx or Fiber for “mission critical” server and computer access, as well as, fiber optic HD-KVM matrix switches. The Draco, featuring ZERO blocking, high speed switching, HD DVI to 1920×1200, and four HID, has already made its impact on Hollywood studios.

Working with OOBAXS to design and deploy a solution using Draco, Shapeshifter Post was the first post-production facility in Hollywood to embrace the high speed technology. “We had been researching KVM Matrix switching/extension options for many months, and needed a robust solution that could support all our input devices without issue, including our Avid Symphony, DS, and Media Composer, as well as De Vinci Resolve, and Final Cut Pro workstations,” said Russo Anastasio, president of Shapeshifter Post. “We knew that by installing the IHSE Draco, we would increase our productivity, but didn’t realize the extent of that increase would be such a game changer!”

“Post-production tasks can be time consuming and draining on resources and typically depend on individual hardware and locations,” added Alan Frank. “An editor may have traditionally worked in one bay for picture editing, but then would need to move to a new location to add in special effects or color-time. With the Draco, an entire production house worth of resources becomes accessible at any single end-point.”

OOBAXS (pronounced Out of Band Access) provides anywhere, anytime console access to broadcast facilities and data centers. The company has a long track record integrating access solutions to help data center managers gain access to any appliance or piece of equipment in their network. OOBAXS.COM has been instrumental in bringing the latest technologies to data centers helping them improve anytime access, image/video quality, productivity, access speed, and a more flexible infrastructure. OOBAXS has brought modern data center tools and techniques into the broadcast world. The result is a client list that includes the world largest movie, recording, radio and television studios as well as Fortune 100 company data-centers. As video, speed and visual interfaces continue to improve; OOBAXS will remain a leading resource for CIOs, CTOs, and broadcast engineers.

All trademarks are the properties of their respective owners.

DP & Stereographer Bruce Austin films wild African elephants in 3D using a pair of all-new Canon XF305′s and the 3D-SS PRO RIG bulit by the 3D Film Factory. Mr. Austin is an experienced stereographer who’s worked on numerous stereoscopic 3D productions for 3ality, Element Techinica and many others.

To see more 3D rigs and gear visit www.3DFilmFactory.com

Editor David Leonard recently completed cutting Al Pacino’s Wilde Salome at Wild(child) Editorial in New York. The film, which recently premiered at The Venice Film Festival to a standing ovation, skillfully weaves together stunning cinematography with documentary-style footage to create a complex and illuminating examination of Wilde, the man, and Salome, his once-banned play about illicit love and brutal revenge.

Al Pacino in the role of King Herod in his tour de force film, 'Wilde Salome'

Directed by and starring Pacino, Wilde Salome could be described as a film about a movie about a documentary. The innovative exploration of the writer and his play, and an actor and a roll crosses the traditional boundaries of filmmaking, weaving together three distinct threads of content: A cinema verite-style documentary about the making of the film and recreations of pivotal touch-points in Wilde’s life, the film of the play itself, which is beautifully shot on 35mm film, and documentary footage shot with a SD video camera that followed Pacino to Ireland, England, and France as he researched the writer’s life and interviewed experts and about his subject.

A deep passion for the play and fascination with Wilde led Pacino to begin work on the project over five-years ago. A number of early rough-cut versions had taken it in different directions as his vision evolved. David Leonard was first signed on to finish shaping the film into its final form in October 2009. Working with existing material, it fell to Leonard to create a cohesive and compelling movie that achieved balance between the distinct threads.

“Al is very much about experimentation and the process of discovery,” says Leonard, who cut the movie on Wild(child)’s Avid System. “He had lived with the film for a long time, and it had gone through numerous incarnations before we began talking about what he wanted the editing to achieve. There were some elements from the last cuts that he wanted to continue shaping, and some fresh ideas and new things he wanted to try. He would tell me what he wanted to see and feel, discuss a scene, give me notes and then come back, respond to a scene and we’d continue the process of shaping and refining.”

Pacino has described his film as, “… not a documentary. It’s not a film. It’s a much more ambitious and complicated gesture of cinema. I wanted to make a kind of collage.”

Leonard, who learned his craft assisting in the cutting rooms of iconic directors

Al Pacino and actress Jessica Chastin in a scene from 'Wilde Salome'

Martin Scorsese, Robert Altman, Paul Schrader and Tim Burton, on films like Goodfellas and The Last Temptation of Christ, says, “As an editor, the challenge was not only to capture the visceral feel Pacino wanted to achieve, but to reach a balance and fluidity between the documentary-style footage and the dramatic film. It was a unique challenge and opportunity to “come into the editing process at a late date and get to be able to add a fresh perspective to the film.”

Pacino noted, “David’s commitment and individuality are a real gift. I always trusted his taste and judgment and felt I could rely on him to deliver what was needed. He always got it done and then some.”

Pacino has sought out a mix of outlets for his longtime passion for the famed writer. At the same time that he was directing the film and playing the role of King Herod opposite Jessica Chastain as Salome, he was performing the same part on stage in the 2006 production of Oscar Wilde’ Salome, also opposite Chastain.

Leonard first introduced Pacino to Wild(child) Editorial when the actor/director had asked him he if knew of a space in New York that would work for an interview with Katie Couric for the TV show, 60 MINUTES.

“He was blown away when he stepped out of the elevator into the huge, sun-filled

lounge,” recalls Leonard. “The space is loft height and the stark, all-white modern minimalism and open architecture does give it an unexpected ‘wow’ factor. When he commented on how much he loved it, I asked him if he wanted to edit the film there. He was still surprised that he was in an editorial house when he said yes.”

“But ambience isn’t the only thing Wild(child) has going for it,” says Leonard. “It also has premiere edit suites, talented people and a strong infrastructure, which is what makes it my favorite place to edit in New York.”

“I found Wild(child) Editorial to be wildly accommodating,” says Pacino. “Without a doubt it was the most pleasant atmosphere I’ve ever done post production work in.”

During the editing of the film Pacino made himself comfortable at the Flatiron-based boutique. “He would arrive at about 4:00, after he finished rehearsal; work with me and then hang out – relaxing in the lounge, playing ping pong, making calls – until around 7:00 when he left for other appointments,” recalls Leonard.

Editor Yvette Pineyro, owner of Wild(child), says, “Wilde Salome is the kind of tour de force that takes filmmaking to the next level and it gave us a privileged peak into the creative process of an iconic talent. It was also great to see Mr. Pacino settle in and make himself at home at Wild(child).

Pinyero adds, “Wild(child) is very proud of its association with David Leonard and the prestigious roster of films he has brought here. We always strive to stay diverse and David brings a fresh cinematic perspective that we strive to incorporate into our spot work.”

Among the films Leonard has cut at Wild(child) are director Raymond de Felitta’s City Island starring Andy Garcia, The Guitar, directed by Amy Redford with Saffron Burrows, and War Boys, directed by Ron Daniels with Peter Gallagher. The Leonard edited film, Two Family House, also directed by Felitta, took home Sundance Film Festival’s Audience Award For A Dramatic Film.

Currently David Leonard is in California working with Pacino on yet another related project, a film of a theatrical production of Salome.

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 CGI 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 + 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) is a 100% minority woman-owned company, launched by Yvette Pineyro in 1995. It is an active member of The National Minority Supplier Development Council , The Women’s Business Enterprise National Council and the Central Contract Registration.

For more information about Wild(child) Editorial contact executive producer Elissa Muddell, elissa@wildchildpost.com, 212.725.5333. Resident Creative Studio can be contacted through director of development Liz Ludden, liz@weareresident.com, 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: US Hispanic Market: Isabel Echeverry (isabel@kontaktoreps.com,) 786.275.6555.

CREDITS:
Title: Wilde Salome Length: 95 minutes
Premiere: Venice Film Festival
Cast: Al Pacino, Jessica Chastin, Estelle Parsons, Kevin Anderson
Production Company: Salome Productions
Director: Al Pacino
Screenwriter: Al Pacino (based on Oscar Wilde’s novel, Salome)
DP: Benoit Delhomme
Editor: David Leonard (at Wild(child) Editorial, on AVID)
Roberto Silva

Executive producers: George Ann Mason, Sakiko Yamada, Beni Atoori, Reza Rashidian, Andrea Grano, Amy Nederlander, Daryl Roth, Tony Schiena, Giulia Marletta, Enrica de Biasi, Pierluigi Navoni, Tod Blatt, Lamont Bennett?
Producers: Barry Navidi, Robert Fox?
Production designer: Nicole Ruby?
Music: Jeff Bea

Minneapolis: Peterson Milla Hooks/Minneapolis (PMH) capped a colorful history of commercial work

for Target with a grand finale, a vibrant and engagingly stylish spot, “Missoni,” announcing the launch of the Missoni for Target line. SUE at CRASH+SUES once again brought her artistry and technical expertise to creating the color-driven imagery that has been the signature of PMH’s highly successful campaign for the national retailer.

Budget-conscience fashion-istas responded to the :30 spot’s message in record numbers, buying out all of the limited-time designer Target collection in less than two days, and crashing the retailer’s new website. The PMH’s spot was feature on national news programs as the story unfolded.

“The Missoni commercial features PMH’s typical attention to detail. Everything shines,” notes SUE whose earlier Target work for the agency includes the iconic “Bull’s-Eye World,” “Color My World,” “Design for All” and “Hello Goodbuy” campaigns.

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Atlanta, GA. – An Atlanta favorite seen by more than 25 million people for almost 30 years the Lasershow at Stone Mountain Park is a tradition at the landmark site. Artistic Image (AI) created 3D animation and 40-minute video enhancements for Full Spectrum LLC’s new Lasershow Spectacular in Mountainvision, which has dazzled visitors since its debut. The show uses Stone Mountain as a projection surface with digital video projection delivering 3D-like effects without the glasses.

The original lasershow featured neon laser lights, fireworks, graphics and stories choreographed to a pop musical score transforming the park into a natural amphitheater. In the new Lasershow Spectacular in Mountainvision, Artistic Image’s 3D animation maps the mountain, turning the stone into a display surface taller than the Statue of Liberty and five times the size of an IMAX screen.

AI, a multi award-winning hybrid creative, production, more

Audiences become engaged with your story while choosing their own adventures

Touchscreens displaying 3D content and dimensional worlds result in immersive experiences
Interactive demos on iPhone and iPad make complicated information approachable and understandable

Click here to see the app in use
Click here to see more educational and marketing tools

Deborah Roth
Mechanism Digital
(646) 230-0230
Debbie@mechanismdigital.com

Draw attention to details with digital enhancement

Triple Threat TV constructed vivid imagery by isolating the infamous Steve Bartman incident – blamed for keeping the Cubs out of the 2003 World Series

Click here to see the effect in motion
Click here to see more television effects

New York, NY: Wild(child) Editorial has signed alumnus Nick Tomnay for commercial representation in the US. The Aussie native, who did a four-year stint at the NY-based spot house, reconnects with Wild(child) after moving to LA in 20010 to direct and edit his debut feature film, ‘The Perfect Host,’ starring David Hyde Pierce. Tomnay, who also wrote the script for the film, recently returned to New York to cut a spot for Wild(child), rekindling his love of the city and passion for the commercial genre.

Yvette Pineyro, owner of Wild(child) Editorial, a 100% minority woman-owned company, helms her Flatiron-based boutique’s team of in-house editors, as well as the select roster of international talent that it represents in the US commercial market. She first signed Nick to her staff of spot editors in 2005, soon after he moved to New York from Sidney. In 2008 Tomnay began editing more