DuArt Authors Joe Satriani’s “Satchurated: Live In Montreal” 2D & 3D Blu-Ray Release At For Cinemusica

 

Joe Satriani, widely recognized as one of the world’s top guitarists, has added to his legacy with the release of the new live-concert film, "Satchurated: Live in Montreal." The HD film was authored for both 2D and 3D Blu-Ray release by DuArt, NYC’s full-service video and audio post facility.    

Filmed by GRAMMY and EMMY award-winning concert filmmakers Pierre & François Lamoureux of Cinemusica, Satchurated was captured live during Satriani’s “The Wormhole Tour,” supporting his studio album "Black Swans and Wormhole Wizards" at the Metropolis in Montreal, Canada. "Satchurated: Live in Montreal" was released to select theaters throughout the country for a limited engagement in March.

Cinemusica captured the sold-out concert with a total of ten camera positions, recording Satriani’s musical best in both 2D and 3D HD formats, in 7.1 Surround Sound. 

Randy Hudson, Director of Digital Media Post Production for DuArt, oversaw a meticulous 3D Blu-Ray authoring process at DuArt’s advanced facilities in midtown Manhattan. “This was an amazing project, and well deserving of the level of production necessary for making it available on 3D and Blu-Ray,” says Hudson. “You have a front row seat to every chord change, played by one of the world’s undisputed guitar masters.”
   
Working with his team in DuArt’s dedicated 2D/3D BluRay authoring suite, Hudson used the NetBlender encoding module, Panasonic multiscan displays, and his deep media production experience to help Cinemusica prepare Satchurated for 3D Blu-Ray release.

“Over 5,000 retail DVD and Blu-Ray titles have been collectively authored by the Disc Production team here at DuArt,” Hudson explains. “That helps us to fully understand the workflow and the final product that we’re working toward: knowing the intricacies of 3D subtitling and menuing, advising the client on how to simultaneously set up to playback in 2D for checking text or credits, and myriad other details are all factors in delivering the best possible product to the consumer.”

The complete post offerings available in DuArt’s 12 floor building on 55th Street and 8th Avenue provided Cinemusica with additional important benefits. “Along with the video assets, we can also handle full QC of the audio in a surround environment,” notes Hudson. “All the services at DuArt are available to the client for a fast, complete turnaround, no matter what the format is.”


About DuArt:
DuArt is a full service post facility in NYC, servicing the broadcast and film industries. Operating out of their 12-story building in midtown Manhattan, DuArt provides video editing, color correct, voice recording, casting, 3D editing, direction for animation, music scoring, sound design, film and audio restoration, production space, complete DVD, Blu-Ray, and 3D Blu-Ray disc media production services, and more. Since being established in 1922, DuArt has finished thousands of the world’s most loved feature films, documentaries, festival releases and television shows. For more information, please visit www.duart.com.

About CINEMUSICA:
Cinemusica was formed by brothers, Pierre & Francois Lamoureux.  Their films have won a Grammy, two Emmy, two Juno, two Gemini, a multitude of industry and technical awards, sold millions of copies on BluRay and DVD and aired all around the world. Pierre & Francois Lamoureux have directed  and/or produced concert films and music documentaries for Rush, The Who, Harry Connick, Jr., Slipknot, Rihanna, The Pretenders, Zappa Plays Zappa, Branford Marsalis, Pat Metheny, deadmau5, Cowboy Junkies, Collective Soul, Ben Harper, Willie Nelson, Deep Purple, The Stray Cats and others. For more information, please visit www.cinemusica.tv.


Web Resources:
Click here for more info about DuArt:
http://www.duart.com

Click here for more info about CINEMUSICA:
http://www.cinemusica.tv/

Click here for clips from "Satchurated":
Trailer: http://youtu.be/bFwSf8zXWYU
"Satch Boogie": http://youtu.be/3pexXLb66bI
"War": http://youtu.be/-nlSGsQY_3o

HOT OFF THE PRESSES: Top Book Publishers Turn To IKA Collective To Create Cinema Trailers, Branded Content, Viral Ads and More

From the viral ad for writer Julie Klam featuring actor Timothy Hutton, directed by IKA's Ian Karr.

NEW YORK, NY – Bestselling authors Tom Clancy, Nora Roberts and Patricia Cornwell may not have much in common style-wise, but they do share one thing – each have turned to IKA Collective and its founder/director Ian Karr to help navigate the new media landscape with content that ranges from powerful trailers to clever viral ads to social media.

“Book publishers are embracing new media in a big way,” Jonathan Jacobson, IKA Collective producer/director says. “They recognize that it’s not just about selling books, but about building the brand of their bestselling authors, and fostering a sense of community between them and their readers.”

Several recent IKA book projects showcase the range of creativity the company brings to the publishing industry.

‘Locked On’ With Tom Clancy Trailer:
IKA’s latest book project is the Hollywood-style book trailer for Tom Clancy latest page-turner “Locked On” (Putnam) directed by Jacobson. The spot begins seemingly as a typical political ad for the presidential candidacy of Jack Ryan, but the mood quickly turns sinister. Fast-cut, grainy images of an army on the move, intercut with shots of an assassin’s hands carefully assembling a high-powered shotgun, perfectly capture the book’s tone of political intrigue and espionage.
  

Viral And More:
On the opposite end of the spectrum is IKA’s viral ad for writer Julie Klam and Riverhead Books, featuring actor Timothy Hutton, and directed by Karr. Shot in a mockumentary style, this funny short begins with Klam talking with her publisher about how Hutton, an avid reader with a popular blog about literature, is a fan of her books and wants to help promote them. Hopes are quickly dashed when a rude Hutton reveals that he doesn’t actually read books, but rather leaves it to an assistant.

“No matter how much technology evolves, the importance of telling a good story remains constant," Karr says. "The story of the trailer doesn’t necessarily have to mirror the one in the book. If the trailer is funny and interesting, the inference is that the book is too. Having an Oscar-winning actor willing to poke a little fun at his fame made for an effective viral ad.”

Karr adds, "Everything today is about content and publishers have loads of it. The trick is re-packaging and promoting the work in a way that makes it more accessible to a digitally-obsessed world. We do that really well at IKA.“

For writer Nora Roberts, IKA produced of a one-of-a-kind web special exclusively for Roberts’ readers in which she gives a tour of the Inn Boonsboro in her hometown of Boonsboro, Maryland. She and her husband co-own the inn, which recently reopened after a 2008 fire nearly destroyed it. Since her latest romance trilogy is set in the town and the inn, Roberts worked with Karr and IKA to give fans an inside look around and a Q&A with Roberts.

“With book trailers you have to interpret the book in a concise and visually exciting way,” Robbie Chafitz, IKA’s Creative Director,  says. “Fortunately, this is something we are quite good at. And because of all the resources we have available to us, we can provide not only the strategy and the production, but also the editorial, visual effects and music. IKA’s combination of talent and resources is why so many leading publishers want to work with us, and why we see the publishing industry as a tremendous growth area for us.”

About IKA Collective:
Founded by noted brand strategist/director Ian Karr, IKA Collective is more than a production company. Rather, a creative collective of writers, producers, editors, directors, composers, digital artists, fashionistas, foodies and horror film fanatics who love to tell stories. Whether it’s an ad, a network promo, a digital media project, or their own original content, IKA Collective is all about communicating in a way that entertains and gets results. Our facility includes a live insert stage, five edit rooms, digital color grading, graphics, compositing and audio mixing suites, allowing us to deliver great work at budgets that make sense in every medium. Recent clients include Fox TV, Discovery Channel, Continental Airlines, Hallmark Channel and Penguin Publishing. For more information go to http://www.ikacollective.com



Web Resources:
Click below for more info about IKA Collective:
http://www.ikacollective.com

Click below to view some of IKA Collective’s best-known book work:
Tom Clancy "Locked On" trailer:
http://youtu.be/jDsm_gHUTog

Julie Klam, Timothy Hutton Viral Ad:
http://www.youtube.com/watch?v=jpuX3hsjegY

Nora Roberts on "The BoonsBoro Trilogy" online content:
http://www.youtube.com/watch?v=N0goPw2vjHQ

Patricia Cornwell "Scarpetta" trailer:
http://www.youtube.com/watch?v=AKFwfYwZoWA

Michael Zimbard Takes Reins At Edit1; Adds Exec Prod Mike Donovan

Mike Donovan

Michael Zimbard

NEW YORK -- You start out at a company, young, optimistic and driven. And you show your worth, cultivate respect, and eventually you end up running the whole place. OK, first there's 10 years of sharing your ability, your vision, your sweat. Then you take over the place. For Michael Zimbard, new owner and president of acclaimed pre-viz studio Edit1, that dream scenario is now reality.

"When I came onboard at Edit1, I wanted to be part of a company that I could help grow – where I could effect change – and I was able to do that," says Zimbard. "Now as owner, I want to push the company to the next level, building on our strong creative capabilities to position ourselves as the premier pre-visualization studio for commercial advertising." 

Zimbard's first step in building a bolder Edit1 is the hiring of Mike Donovan as Executive Producer. Donovan carries over a decade of experience in animation production and comes to Edit1 from Launch and most recently Nice Shoes, where he was managing director/head of production.

"Our business model allows us to offer clients a unique level of creative attention," says Zimbard, "and the addition of Mike Donovan as EP exemplifies our commitment to maintaining personalized access even as we grow. His dedication to clients is unmatched, and will further separate us from our competition.

"We strive to build relationships that are focused on our clients' needs. We want them to feel as if their project is the only one we're working on – not juggled among others or plugged into some formula."

Fostering a collaborative environment, Edit1 enjoys having clients visit its New York City studio, where a recent redesign complements the company's brand refresh. But while things may look a little different, the priority placed on earning clients' trust remains. That commitment, whether face to face or a thousand of miles away, is something Donovan says stands out within the industry, and is a big reason why he chose to join Edit1.

"Michael and I share similar philosophies in terms of creativity, client service and where the industry is heading," says Donovan. "I felt like I wanted to get back to the basics of production and work with clients on a more personal level, which is the nature of pre-visualization."

That nature is quick to evolve, with the technology becoming a more vital tool as the amount and variety of content increases. Zimbard believes it has untapped potential, and that engaging pre-visualization early in the production process helps agencies maximize its power.

"From design to demos, there's a closer marriage between test commercials and the final edit," says Zimbard. "Our pre-viz capabilities provide agencies with a stronger product at the start, one that stands up through the production process, leading to positive outcomes for creatives."

And while professional, efficient production is something Edit1 thrives on, Donovan believes one of the strengths of pre-viz is its ability to strengthen nascent or undeveloped creative imagery.

"By fleshing out the visual language, we're able to help agencies execute the telling of their stories," he says. "We make sure that our clients' ideas work, and then help them elevate those ideas, saving them time and money and, in the end, helping them create a better product."

For more information about Edit1 visit http://edit1.tv/

Stephen Arnold Music Delivers New Sonic Brand For HLN’s “Jane Velez-Mitchell”

DALLAS, TX -- The anticipated debut of “Jane Velez-Mitchell,” HLN’s new nightly news show starring one of the network’s most recognizable on-air talents, features an energetic and distinctive new theme from sonic branding experts Stephen Arnold Music. “Jane Velez-Mitchell” airs at 7 PM EST, Monday-Friday on HLN.    

HLN once again turned to Stephen Arnold Music for “JVM” -- the latest in a series of successful collaborations that also includes original sonic brands for the shows “Dr. Drew,” “Prime News,” “Showbiz Tonight” and “Morning Express with Robin Meade.” The objective for JVM: create a strong and compelling theme that mirrored the dynamic personality of the show’s colorful host.  

A Musical Jolt for “Jane”
Using an inspired mix of keyboards, loops, live guitars and bass, Stephen Arnold Music produced a driving, upbeat audio theme. The distinctive melody morphed into a musically diverse package representing rock, electronic and hip hop styles, reinforcing the show’s various moods. Stephen Arnold Music’s new theme reinforces the rebranding of the show, which had previously aired as “Issues with Jane Velez-Mitchell.”

“’JVM’ is a very musically intensive show – HLN treats the themes as theatrical elements,” Stephen Arnold, President of Stephen Arnold Music says. “The new music reflects the drive and passion that Mitchell brings to her reporting.”

Arnold adds, “When we do sonic branding for a show that’s centered around a personality, we spend a lot of time watching them on the air and seeing what they’re about before we even start writing. Jane brings drama, mystery and a lot of positive force to the screen -- our goal was to capture her musically.”

Ratings Up at HLN
HLN’s 2011 ratings broke records for the network, a positive trend involving a growing number of shows scored and sonic branded by Stephen Arnold Music.

“Every show is different, but we understand that HLN needs their music to feel fresh, innovative and artist-driven,” Stephen Arnold concludes. “It’s a sound that’s connected to what their audiences are listening to, and that supports the brand objectives of each show. ‘JVM’ stands out musically, while still being a perfect fit with HLN’s lineup.”


About Stephen Arnold Music:
As a multiple Emmy, Addy and Promax Gold award-winning music production company, Stephen Arnold Music has over 15 years of success in delivering the sounds that make a difference to networks, television stations, advertising agencies, film studios and video game companies the world over. The company's Commanding Sonic Branding approach to music production and commitment to industry-leading service is at the core of its promise. For more information, please visit http://www.stephenarnoldmusic.com.


Web Resources:
Click here to view the "Jane Valez-Mitchell" show open + montage of musical variations:
http://youtu.be/TcFh2wWm3Yg

Click here for more info about Stephen Arnold Music:
http://www.stephenarnoldmusic.com/
http://blog.stephenarnoldmusic.com/

ShootersNYC Sets Sights On Editor David Smalheiser

NEW YORK, NY – Adding yet another piece to the creative puzzle that is ShootersNYC (www.shootersnyc.com), the hybrid post boutique offshoot of Philadelphia-based ShootersINC has added veteran editor David Smalheiser's to its staff. Smalheiser joins an editorial team that also features Anthony Marinelli, Mark Hutchinson, Chris Magliozzo, Matthew Burres, Rob Graham and Steve Wheelock.

“I have worked with Dave over the years and I knew he would be a perfect fit with what we’re building with ShootersNYC,” Jeff Beckerman, ShootersNYC Managing Director/Executive Producer says. “He’s a veteran editor who understands how the industry is changing and why Shooters’ unique business model is so valuable to clients today.”

That business model is one that emphasizes a boutique approach to customer service and creative one-on-one with clients, combined with a tremendous amount of talent and full service resources available thanks to a high speed link to its Philadelphia studio.

“Dave’s talent and creativity will be a big asset for us in the work we do in the traditional advertising space, as well as our TV Development and production, feature film, broadcast promotion and branded entertainment work,“ Ray Carballada ShootersINC President says.

Known for his deft touch with comedy, lifestyle and vignette style spots, Smalheiser‘s clients include such top agencies as Saatchi & Saatchi, Ogilvy & Mather, BBDO, EuroRSCG and McCann Worldgroup, among others. In his career he’s worked with such acclaimed directors as Spike Lee, David McNamara, Tim Hamilton, Tenny Fairchild, Annibel Jankel and Marcus Nispel.

Since joining ShootersNYC Smalheiser has completed a package of spots for Nature Valley and Chex, both through agency Campbell Mithun/McCann Worldgroup. His current showreel includes spots for State Street Global Investments and Hamburger Helper.

“There’s great energy at ShootersNYC and I Iove that there are so many facets to the company,” Smalheiser says. “There’s a boutique feel when you walk in the door, but I’m able to access so much talent and technology for my clients – it’s really the ideal situation, and one that is perfectly in sync with the way clients want to work today.”

ShootersNYC (www.shootersnyc.com) is the New York division of ShootersINC, a multi-dimensional creative production and post house specializing in editorial, visual effects, graphic design, finishing and audio post for advertising, television, feature film and new media. For more information contact Managing Director, Jeff Beckerman at 212-533-9400 or at jeff@shootersnyc.com. 

ShootersTV (www.shooterstv.com) is a division of Shooters Inc., dedicated to creating programming for reality and non-scripted television. ShootersTV is represented by Peleton Entertainment, the New York-based television agency representing leading producers working in reality and documentary. For more information contact Rob Miller at Peleton Entertainment by email at rob@peletontv.com or phone 212-572-9632; or contact Carrie Spott at ShootersTV by email at carrie@shooterstv.com or phone 215-861-0100.

ShootersINC (www.shootersinc.com) is a full service production and post house that blends talent, technology and client service to provide a superior level of quality and creativity. Shooters’ client base consists of ad agencies, production companies, political consultants, PR firms, and corporations. For more information contact Shooters’ Anne-Marie Starker (anne@shootersinc.com) or phone 215.861.0100.

DIVE (www.divevisual.com) is the visual effects, DI and film finishing division of ShootersINC, led by veteran Visual Effects Supervisor Mark O. Forker. As one of the east coast’s premier postproduction facilities for film finishing services, DIVE offers filmmakers the opportunity to complete Visual Effects, Digital Intermediates and Titles by coupling creative continuity with an integrated workflow. For more information, contact DIVE VP Business Development, Bob Lowery (bob@divevisual.com) at 267.514.7700.

Broadway Video Provides Editorial & Audio Post For ‘Will Ferrell: The Kennedy Center Mark Twain Prize’

NEW YORK, NY -- Broadway Video recently provided editorial and audio services for PBS’ 90-minute special presentation ''The Kennedy Center Mark Twain Prize for American Humor'' honoring Will Ferrell. The comprehensive post services at Broadway Video contributed to a quick turnaround from performance to air. The show’s director Linda Mendoza collaborated with Yossi Kimberg, senior editor for Broadway Video, and Ralph Kelsey, VP for Broadway Sound, to highlight an evening of toasts and accolades from Ferrell’s friends including Ed Asner, Jack Black, Matthew Broderick, Green Day's Billie Joe Armstrong, Gwen Ifill, Tim Meadows, Adam McKay, Conan O'Brien, John C. Reilly, Paul Rudd, Andy Samberg, Molly Shannon and Ben Stiller.  

Kimberg traveled to Washington, DC to view the show in person and then began editing on Avid Symphony in his suite back in New York the next morning. He said, ''The challenge was to edit, mix and deliver the show within three days. Thanks to a tapeless workflow and the Broadway Video team, that goal was achieved.''

At Broadway Sound, Kelsey worked in tandem with Kimberg, providing audio sweetening to deliver a polished final mix. Under Executive Producer Bob Kaminsky’s direction, Kelsey used the numerous recorded tracks to illuminate the live feel of The Kennedy Center. ''Everything that’s needed to finish a show is right here,'' said Kelsey. ''You don’t have to leave the building to get it all done, and our team keeps the editorial and sound moving smoothly.'' 

In addition to Bob Kaminsky, executive producers Peter Kaminsky, Mark Krantz, and Cappy McGarr were all instrumental in bringing the special together. 

''I've made shows at Broadway Video for many years. I believe the number of TV specials now exceeds fifty,'' said Bob Kaminsky. ''The Brill Building feels like show business and I'm always happy to walk into that historic lobby. It is a great luxury to go from Yossi and the video edit and to be able to run down to Ralph in the audio studio and back and forth. It saves all kinds of problems during the post process and makes the final mix a creative collaboration rather than the tedious process of patching things that should have been avoided in the first place. I'm a lifer.'' 

''Will Ferrell: The Kennedy Center Mark Twain Prize'' can be viewed in its entirety at http://www.pbs.org/mark-twain-prize/. 

About Broadway Video:

Founded in 1979 by Lorne Michaels, creator and executive producer of "Saturday Night Live," Broadway Video Entertainment is New York's leading full-service entertainment company. BVE offers an unparalleled scope of services that include the production of some of the country's most popular TV programming and feature films, the marketing and distribution of a rich entertainment library and access to state-of-the-art design and post production facilities staffed by the industry's most creative visual and sound designers and technicians.

Broadway Video is located at 1619 Broadway, New York, NY 10019. For more information, call (212) 265-7600 or visit us at broadwayvideo.com. 

Web Resources:

http://www.broadwayvideo.com 

http://www.broadwayvideo.com/#/PostProduction 

http://www.pbs.org/mark-twain-prize/

COLLECTIVE GROWTH: IKA Collective Adds Music/Sound Design Services; Director of New Business Development

NEW YORK, NY – IKA Collective, the creative production/post studio led by director/brand strategist Ian Karr, has forged an alliance with Mixology Post, the original music/sound design/audio post studio founded by composer/engineer Rob Kahn. Additionally, IKA Collective named Stu Sternbach its Director of New Business Development.

“This year has been an exciting one in the evolution of IKA Collective,” Karr says. “We’ve been a one-stop creative shop since the beginning, but now brands and agencies are embracing that concept like never before. We’re the classic story of an overnight sensation -- 25 years in the making. Adding Rob and Mixology to the Collective increases our creative critical mass and takes audio finishing to a whole new level – he is super-talented and a great fit for us. Stuart has a wealth of experience and connections in the advertising production/post production business to bring our collective skills to an even wider array of clients.”

Kahn, who will continue to operate Mixology as an independent company, is available to IKA Collective clients looking for original music/sound design/audio post. The company already offers an array of creative services including, creative development, live action production, editorial, visual effects design and animation.

Since joining IKA Collective, Kahn and his team of audio experts have lent their talents to a launch spot for PurAbsorb, a women’s vitamin supplement, via agency Nail Media Group; a campaign for Penguin Publishing celebrating Nora Robert’s new book, “The Next Always,” and IKA’s own web series “The Midnight Archive.”

“I’m really proud to be associated with Ian and IKA Collective,” Kahn says. “They are a forward-thinking company that is well-positioned to take advantage of the way the industry is heading with its emphasis on creatively nimble companies that can do a lot of things well, fast and on-budget.”

Sternbach joins IKA Collective following years as the president of the independent representation company Pangea, where he represented some of the production/post community’s leading companies. He got his start as an Account Executive at BBDO and from there he transitioned into sales/marketing positions at numerous top post houses before launching Pangea.

“IKA Collective is a rarity in the world of creative production and post,” Sternbach says. “There literally is nothing we can’t do – whether its creative strategy, production or post. IKA Collective possesses the perfect business model for the current economy in which clients are looking to work with shops that can do a lot of things well. I’m proud to be a part of what Ian is building and look forward to playing a role in the company’s the next level of success.”


About IKA Collective:
Founded by noted brand strategist/director Ian Karr, IKA Collective is more than a production company. Rather, they’re creative collective of writers, producers, editors, directors, composers, digital artists, fashionistas, foodies and horror film fanatics who love to tell stories. Whether it’s an ad, a network promo, a digital media project, or their own original content, IKA Collective is all about communicating in a way that entertains and gets results. Our facility includes a live insert stage, five edit rooms, digital color grading, graphics, compositing and audio mixing suites, allowing us to deliver great work at budgets that make sense in every medium. Recent clients include Fox TV, Discovery Channel, Continental Airlines, Hallmark Channel and Penguin Publishing. For more information go to http://www.ikacollective.com

BIGSMACK Teams With A&E Network For Comprehensive Promo Campaign For The Glades

PHILADELPHIA, PA -- The Glades, A&E Network’s new offbeat original scripted drama has been the beneficiary of some great buzz, thanks in part to the comprehensive teaser/promo campaign created by BIGSMACK, the full-service creative/production/design studio led by Creative Director Andy Hann.

Hann and the BIGSMACK team were involved in nearly every facet of the promo effort -- from writing the tagline that drives the teaser campaign “Sunny...with a chance of homicide,” to concepting, producing and designing three :15 teaser spots and a :30 promo featuring series star Matt Passmore. Moreover, BIGSMACK collaborated on the multifaceted outdoor campaign that includes billboards, kiosks, bus and taxi ads, even completely outfitting Chicago’s ‘L’ transit system, as well as an array of online content.

BIGSMACK rose to the challenge delivering a conceptually simple campaign that cleverly taps into the show’s offbeat, Coen Brothers-esque characterization, coupled with a taut police procedural narrative style.

“We definitely ‘got’ the show’s balance between the quirky characters and crime narratives that makes The Glades work,” Hann explains. “A&E loved our ‘orange’ teaser spot concept and the rest of campaign grew from there. The one similarity between all of the spots is the over-arching theme of things not being what they seem.”

Teasers & Promo:
To the strains of Sam Cooke’s classic song “Summertime” (chosen by BIGSMACK) “Orange” begins with a dramatic shot of a glorious sunset behind a photo real 3D animated orange. The word “Sunny” hovers ominously above the imagery. As the camera tracks back, the mood turns dark as the sun is eclipsed by the orange and the words “with a chance of homicide” are abruptly split in half by a knife piercing the orange. The spot ends with an overhead shot of the orange bleeding over The Glades logo. Other teaser spots in the campaign include “Water,” featuring a slow overhead tracking crane shot of a picturesque swimming pool that ends on a deceased woman floating in the water; and “Bikini,” which pans over a bikini clad hottie face down on a lounge chair finally revealing bullet in her back.

The :30 “Sunny” promo offers a completely different tact. Directed by BIGSMACK director Scott Whitham, the spot features Passmore on a beautiful beach talking directly to camera about how he left the “cruel, cold air of the big city for the sunshine state.” As the spot continues it becomes clear he’s not on the beach for fun, but rather examining a crime scene. The promo ends with Passmore sarcastically noting how “it’s still pretty sunny, but that just makes the bodies smell worse” just as camera cuts to show a victim lying on a beach chair. The spots were shot with the RED Mysterium-X on location in Miami, Fl.

Adds Hann, “In many ways The Glades was an opportunity for us to showcase what we’re capable of creatively when we partner with our clients -- from concept development to mounting complex location production, through intricate 3D animation, design and post. A&E showed a lot of trust in us to pull this off, and I’m gratified their trust wasn’t misplaced.”

About BIGSMACK:
Lead by Creative Director Andy Hann, BIGSMACKtv is a full service creative agency specializing in the broadcast industry. From their offices in downtown Philadelphia, BIGSMACK creates, produces, designs and posts image and promotional campaigns for the world’s leading entertainment providers. Recent clients include Discovery Channel, Nat Geo, HBO, Comedy Central, Sundance and A&E, among others. For more information contact: Brett Ashy at The Ashy Agency (brett@ashyagency.com, 323-464-2749) or go to www.bigsmack.tv


Creative Credits:
Client: A&E Network
Project: The Glades teaser/promo campaign, outdoor campaign

Agency/Production/Design/Post: BIGSMACK, Philadelphia, PA
Creative Director: Andy Hann
Executive Producer: Heidi Erney, Kelly Dials
Director: Scott Whitham, Andy Hann
DP: Andrew Turman
Line Producer: Kipp Christiansen

Web Resources:
Click here to watch The Glades teaser/promo campaign:
http://bigsmacktv.wiredrive.com/l/p/?presentation=0bda226cf13ca22e95fbb77d085786a6

Click here for more info about BIGSMACKtv:
http://www.bigsmack.tv

Click here for more info about The Glades:
http://www.aetv.com/the-glades/

One Fine Day Designs Eloquent Video Sequences For National Museum of American Jewish History

NEW YORK, NY -- The much anticipated opening of the National Museum of American Jewish History in Philadelphia, which the New York Times recently noted ''sheer ambition gives the museum immediate importance,'' features two powerful feature video sequences designed by One Fine Day, the six-year-old design/visual effects studio led by Creative Directors Nathalie de La Gorce, Chris Haak and Executive Producer Tom Bayer. EMMY-Winning filmmaker David Grubin directed both videos.

For de la Gorce, who led the One Fine Day creative team for this pro-bono project, the intricately designed 2-plus-minute sequence entitled “Purim” that is part of the exhibit looking at the American Jewish experience around the late 1800s, was by far the most creatively challenging.

''The video illustrates a moment in time in the history of American Jews when they had finally assimilated and prospered in America and could afford extravagant parties in luxurious settings, only to see it change because of a resurgence of anti-Semitism,'' de La Gorce says. ''We depicted that shift visually by contrasting these silhouetted ballroom dancing couples with backgrounds made of racially-charged newspaper articles and illustrations published during those years.''

Shot by Grubin on a soundstage with professionally choreographed ballroom dancers, ''Purim'' is seen solely from the POV of someone looking into a ballroom from a distance. Subtle lighting adds a sense of mystery, with the dancers appearing only as non-descript silhouettes moving gracefully to an original score by composer Joseph Lanner.

Designed to convey both a sense of grandeur of the time and ominous changes on the horizon, Grubin’s live action footage -- coupled with footage of actual artifacts from the museum such as fine crystal candelabras and chandeliers, and print content such as advertisements, illustrations and newspaper articles – was composited by de la Gorce and the One Fine Day team using Adobe After Effects and edited using Final Cut Pro.

In addition to ''Purim,'' One Fine Day also contributed creatively to the more editorially focused video called ''Revolution'' -- an exhibit that focuses on the American Revolution.

''The fascinating part of this project for me was working with scholars rather then brand managers for a change, whose most important concern was historic accuracy,'' de La Gorce says. ''It was fascinating to be a part of their process. Their level of passion was both and blessing and a curse because if also meant a lot of last minute changes, but we’re proud of the work and the opportunity to work on such an important project.''


About One Fine Day:
Launched in 2004, by former R/GA and Trollback & Company creatives Nathalie De La Gorce and Chris Haak, One Fine Day (www.ofdny.com) is a boutique motion graphic design and visual effects studio specializing in film and television production. Known for their storytelling prowess, One Find Day’s work focuses on exceptional design that goes deeper and is both more complex and simpler than passing fads. It is that understanding that ultimately makes each project emotionally and visually relevant to its audience. Recent work includes projects for HBO, Cinemax, MTVN, Vh1, LOGO, AMC, TV Land, TNT, Spike, SciFi, National Geographic, TCM, TNT, Discovery, Fidelity, Pontiac, Dodge, Lincoln, GMC, Volvo, Proctor & Gamble, AICP, Intel, SAP. For more information contact Executive Producer Tom Bayer at 212-529-3196 or tom@ofdny.com.


Web Resources:
Click here to watch the “Purim” video:
http://onefinedayny.com/One_Fine_Day_nmjah.html

Click here for more info about One Fine Day:
http://www.ofdny.com

Click here to see a photo of the “Purim” exhibit from New York Times.com:
http://www.nytimes.com/slideshow/2010/11/11/arts/design/20101112-museum-5.html


Creative Credits:
Client: National Museum of American Jewish History, Philadelphia, PA
Project: ''Purim,'' ''Revolution'' -- video exhibits

Production: David Grubin Productions, New York
Director: David Grubin

Design/Post: One Fine Day, New York
Creative Director: Nathalie de la Gorce
Executive Producer: Tom Bayer

Music: Joseph Lanner

yU+co. Re-teams With Director Davis Guggenheim On ''Waiting For Superman'' Main-On-End Title Sequence

HOLLYWOOD, CA -- Throughout the course of ''Waiting for Superman,'' the new documentary directed by Davis Guggenheim (''An Inconvenient Truth''), viewers are taken on emotional rollercoaster courtesy of the heart-wrenching case histories of five different families across the country struggling to give their kids a shot at a better education. When it came to the main-on-end title sequence though, Guggenheim entrusted yU+co, the design/visual effects studio led by Founder/Creative Director Garson Yu, to leave the audience with just one lasting impression: hope.

''Garson and I knew we needed more in the end titles than inspirational words -- we were searching for a metaphor that moved the audience at the end to action,'' Guggenheim says. ''Somehow we landed on the idea that a great school is a beating heart -- and when it works -- it pumps life into a neighborhood. Garson and his team took this idea and ran with it. It's everyone's favorite moment -- a school giving life to the world around it, capturing the hope of the filmmakers and inspiring the audience.''

Following on the heels of their successful collaboration on the Academy Award-winning ''An Inconvenient Truth'' (2006), the ''Waiting For Superman'' titles feature a gracefully moving string of connective typography underscored by a series of animated blue lines.

Set to the powerful track ''Shine'' by John Legend, key title credits are interwoven with an impassioned cry for help: ''Our system is broken and it feels impossible to fix, but we can’t wait. Text ‘possible’ to 77177,'' the typography reads. As the titles progress so do the complexity of the animated blue lines.

The sequence builds toward a breathtaking and unexpected payoff with the final on-screen type: ''Great schools won’t come from winning the lottery. They won’t come from Superman. They will come from you.'' The last word ‘you’ fades slowly into the background as the camera swiftly pans backward and quickly skyward. A golden shaft of light reveals that the blue lines seen throughout have formed a large, 3D animated blueprint of a school and a community connected to it.

''The idea was to let the audience take all of this information and transfix them with this peaceful, elegant moving type of connecting words set to this inspiring song,'' Yu says. ''We also incorporated subtle uses of light -- particularly cool blue and warm gold -- to further symbolize the idea of positive change.''

The ultimate compliment comes from the film’s Producer Lesley Chilcott, who views the title sequence as literally the end of the film, not something separate. ''It's part of the film,'' Chilcott says. ''We've screened the film all over the country, and people stay and watch yU+co'.s beautiful 3D animation. The titles are simply breathtaking.''

Chilcott continues, ''We intercut our production credits with little poems about how and why you can get involved. If the film has done it's job, the audience is very emotional at the end, and the poems we wrote, along with the beautiful design gives people choices on how to get more involved.''

For Yu the project was a personal one. ''I have a son who is a senior in public high school and the problems the film highlights are very real, but they are within our power to fix as a nation,'' Yu says. ''Our goal was to communicate an overall hopeful feeling and deliver a call to action for all of us to do something to change the status quo.''

In addition to their work on ''Waiting for Superman,'' yU+co. also completed work on the titles for the Warner Bros. romantic comedy ''Life As We Know It'' and for the second year in a row created the full graphics package for NBC’s recent broadcast of the 62nd Annual Emmy Awards. In addition, they created the open for the live event launch conference of LG’s Optimus smartphones.


About yU+co: 
Recognized as an industry leader in visual design and motion graphics with offices in Hollywood, Hong Kong, and Shanghai, yU+co. (www.yuco.com) specializes in main and end titles for film and television, visual effects, TV show opens and network graphics packages, theatrical logos, game cinematics and commercials. For more information contact Director of Business Development Dianna Costello (323-606-5050, dianna@yuco.com).


Web Resources:
Click here to watch the Waiting For Superman title sequence:
http://www.yuco.com/projects/waiting-for-superman

Click here for more info about yU+co:
http://yuco.com

Click here for more info about Waiting for Superman:
http://www.waitingforsuperman.com/


Creative Credits:
Project: ''Waiting for Superman'' main-on-end title sequence

Design/Visual Effects: yU+co - Hollywood, CA
Creative Director: Garson Yu
Executive Producer: Carol Wong
Producer: Sarah Coatts
Coordinator: Ryan Wilk
Designers/Animators: Edwin Baker, Etsuko Uji, Kaya Thomas, Kina Choi, Osamu Shishime, John Kim, Jill Dadducci, Gary Garza, Jae Yoo

Stephen Arnold Music Drives Golf Channel’s Top Shows With Energetic New Themes

The Golf Channel keeps over 120 million homes informed about the sport’s latest breaking news with ''Golf Central.'' When a strong new package of theme songs was needed for their marquee program, they turned to Stephen Arnold Music, the leaders in original music and sonic branding.

The assignment to refresh “Golf Central” was the latest in a string of recent collaborations between Stephen Arnold Music and the Golf Channel, including the shows ''Golf In America,'' and ''Grey Goose 19th Hole.'' For “Golf Central,” the directive was to create an emphatic opening theme for a show providing elite analysis of one of America’s most popular sports.

''This theme was a unique chance to evolve the music that’s associated with a particular sport,'' says Stephen Arnold, President of Stephen Arnold Music. ''The Golf Channel wanted a bigger sound with lots of energy to appeal to a young audience. In addition, they wanted a sonic logo -- or mnemonic -- with the potential to become a classic signature that people can immediately recognize and remember.''

Stephen Arnold Music composed a package of four highly motivational themes that mix the power of a 1-wood drive off the tee with all the tension of an 18 hole 15-foot putt. Guitar, bass, real drums and subtle electronic elements provide the pulse, while live brass and strings lend larger-than-life feel to the action that’s about to unfold.

''This wasn’t your standard twinkling-acoustic-piano approach to scoring for golf,'' Arnold notes. ''The Golf Channel is attracting an increasingly youthful demographic. As a result, this theme package presented Stephen Arnold Music with an opportunity to do the sonic branding that we excel at. Our experience at ‘branding the brands’ tells us what questions to ask before we get started, then allows us to interpret what the client tells us and finally assemble the perfect talent to execute the music.”

Given the chance to capture the pageantry and majesty of golf, and then inject it with a firm dose of 21st Century attitude, Stephen Arnold Music didn’t hesitate.

''Golf Central is a program that a lot of people watch,” Arnold concludes. “Being invited to compose the theme for their marquee show was a very special assignment.”


About Stephen Arnold Music:

As a multiple Emmy, Addy and Promax Gold award-winning music production company, Stephen Arnold Music has over 15 years of success in delivering the sounds that make a difference to networks, television stations, advertising agencies, film studios and video game companies the world over. The company's Commanding Sonic Branding approach to music production and commitment to industry-leading service is at the core of its promise. For more information, please visit http://www.stephenarnoldmusic.com. 


Web Resources:
Click here to watch the Golf Channel's "Golf In America" show open:
http://www.youtube.com/stephenarnoldmusic#p/u/6/GBdMcRr8dXs

Click here for more info about Stephen Arnold Music:
http://www.stephenarnoldmusic.com/

Click here for more info about the Golf Channel:
http://www.thegolfchannel.com/golf-tv/

BIGSMACK Boosts Science Channel’s New Show 'Large Dangerous Rocket Ships'

PHILADELPHIA -- Nothing says ‘guy-fun’ like rocket science and the possibility of things blowing up. Those two elements are conveniently combined in Science Channel’s new show 'Large, Dangerous Rocket Ships.' Ahead of its July 5 premiere, BIGSMACK, the live action/design studio led by Creative Director Andy Hann, created promo spots (:30 and :60), and a comprehensive toolkit for Science Channel producers for use in future teasers, bumpers, promos and more.

Part reality show, part competition, Large, Dangerous Rocket Ships centers on rocket enthusiasts from around the country who gather every year in Lucerne Valley, CA for the ultimate event in competitive rocketry. Contestants launch homemade rockets of all types and sizes (including one made from a port-o-potty) to altitudes of up to 100,000 feet.

''This is our first assignment for the Science Channel, but we know the creative team and producers well thanks to our work for sister channel Discovery,'' Hann says. ''They trusted us to take the concept, which they loved, and bring it to life. The idea was to have fun with the notion of launching these crazy things, and make it very guy-centric, while giving it this comedic-bent because you never really knowing what object is going to launch.''

Working on an extremely tight turnaround of just two weeks – an amazing task given the amount of 3D animation in the spot -- the 'Large, Dangerous Rocket Ships' promo begins with a shot of a vast desert with four distinct objects in the foreground – a lawn chair, a barbecue, a pick-up truck and an actual rocket that looks to be about six or seven feet tall.

Seemingly shot with a handheld camera, we hear a group of unseen guys narrate the action. The promo takes an unexpected twist as the guys’ countdown and instead of the rocket, the lawn chair fires up and launches, followed by the barbecue. Finally when the actual rocket is set to go, there’s an unexpected breakdown. The guys are temporarily disappointed, that is until the rocket lights up and lifts off dramatically to a chorus of cheers.

The promo ends with the BIGSMACK created tagline: ''Average guys, not so average competition.''

To create the detailed 3D animation and compositing, BIGSMACK called in their newest talent Sr. Visual Effects Director Dave Zeevalk and Sr. Art Director Jason Salo. Working with just a few still photos of the Mohave desert with a pick-up truck in the background, the team added extensive amounts of 3D animation -- everything from specific objects like the rocket, the lawn chair and the barbeque; to the smoke and fire that accompanies each launch; to the miscellaneous debris and dirt around the objects. In addition, they also enhanced the complex lighting and shadows.

''This project came together so fast that getting it done required a leap of faith on our part and the clients,'' Hann adds. ''In a way that was liberating because we didn’t have time to over think things. We had to trust the concept and our own instincts and go for it.''


About BIGSMACK:
Lead by Creative Director Andy Hann, BIGSMACKtv is a full service creative agency specializing in the broadcast industry. From their offices in downtown Philadelphia, BIGSMACKtv creates, produces, designs and posts image and promotional campaigns for the world’s leading entertainment providers. Recent clients include Discovery Channel, Nat Geo, HBO, Comedy Central, Sundance and A&E, among others. For more information contact: Brett Ashy at The Ashy Agency ( HYPERLINK "mailto:brett@ashyagency.com" brett@ashyagency.com, 323-464-2749) or go to HYPERLINK "http://www.bigsmack.tv" www.bigsmack.tv

Web Resources:
Click here to watch the Large Dangerous Rocket Ships promo:
http://www.bigsmack.tv/#reel/spots/36/0

Click here for more info about BIGSMACK:
http://www.bigsmack.tv

Click here for more info about Large Dangerous Rocket Ships:
http://science.discovery.com/tv/ldrs/

Credits:
Client: Science Channel
Project: "Large Dangerous Rocket Ships" promo

Agency/Production/Design/Post: BIGSMACK, Philadelphia, PA
Creative Director: Andy Hann
Sr. Visual Effects Director: David Zeevalk
Sr. Art Director: Jason Salo
Executive Producer: Heidi Erney
Producer: Tommy Leonard
Visual Effects: Jeremy Fernsler
3D Animators: Adam Stockholm, Kevin Fillie