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

Calabash Animation Animates New General Mills Spot ''Awards''

On the heels of last year’s General Mills spot ''Measuring Up,'' Calabash Animation has again teamed with agency McCann Worldwide, New York to animate ''Awards,'' a new spot for General Mills that targets adults with a message highlighting the health benefits found in many popular General Mills cereals such as Trix, Lucky Charms and Cinnamon Toast Crunch, which are rich in whole grains and calcium.

''Most of the time we’re taking popular brand icons Lucky the Leprechaun and the Trix Rabbit and creating these fantastic worlds and environments and the focus is on fun and adventure,'' explains Sean Henry, Calabash’s Executive Producer. ''For this spot, the tone is completely different with the characters toning down their personalities to deliver some very gentle performances.''

''Awards'' features an array of kids winning awards for their achievement in sports and academics. In each scene we see characters like Lucky, Trix and Sonny the cuckoo bird from Cocoa Puffs, standing next to kids beaming with pride over their accomplishments, while the voiceover notes the health benefits found in whole grains and calcium.

Since the spot is designed to appeal to an adult audience, the subtle side of the characters’ personalities had to be showcased. The challenge was to portray an emotional message through the cartoon characters. This required a high degree of sophistication with the animation. ''The result may seem simple, but a lot of thought went into giving a more serious tone to the otherwise exuberant characters,'' Wayne Brejcha, Calabash’s Creative Director said.

The technical challenges included seamlessly compositing live action with animation. ''Though we have mastered this art, every assignment is different and required some extensive experimentation to get the right look and feel,'' Brejcha added.

Brejcha also noted that the spot contained several complex lighting schemes, particularly with the scene in the pool. The light from the pool had to be perfect to evoke a scene grounded in reality rather than seeming surreal. In addition, subtlety was important, especially when it came to the facial expressions of the characters.

''We spent a lot of time on the characters’ expressions,'' Brejcha said. ''We wanted them to seem to be proud of the children like a parent, but in a subtle way so as not to seem like they were being silly. The idea is to speak to adults and get them to think about the product in a different way. Achieving that through animation is never easy and our team did an incredible job with this project.''

About Calabash Animation:
Led by Creative Director Wayne Brejcha and Executive Producer Sean Henry, Calabash Animation, Inc. (www.calabashanimation.com) is the Chicago, IL-based animation production studio, known for its award-winning cel, 3D and stop-motion animation for the advertising and entertainment industries. Calabash Animation is perhaps best known for their creative development of some of America’s most beloved brand icons. In addition to working on some of today’s top advertising the company has also produced several acclaimed short films. It’s 2002 short ‘’Stubble Trouble’’ was nominated for an Academy Award in 2002. Its most recent “Botnik” will hit the festival circuit in Fall 2008.

Creative Credits:
Client: General Mills
Project: “Awards” (:30, :15):

Agency: McCann Worldwide, New York, NY
SVP, Executive Creative Director: Craig Miller
SVP, Creative Director, Art Director: Sean Kiener
SVP, Creative Director, Copywriter: Steve Centeno
VP, Executive Producer: Tom Sann

Production Co: The Sweet Shop, New York, NY
President / Managing Director: Stephan Dickstein
Director: Kathi Prosser
Executive Producer: Susan Rued-Anderson
Producer: Kyra Shelgren

Animation: Calabash Animation, Chicago, IL
Executive Producer: Sean Henry
Creative Director: Wayne Brejcha
Production Manager: Diane Grider
Associate Producer: Alexis Davison

Editorial: Cutting Room, New York, NY
Producer: Melissa Lubin
Editor: Chris Hellman

Web Resources:
Click here to view the General Mills “Awards” spot:
http://www.calabashanimation.com/movies/view2.asp?file=520a_GMI_Awards_30sm.mov

Click here for more info about Calabash Animation:
http://www.calabashanimation.com/

yU+co Makes Splash with Hot Tub Time Machine

HOLLYWOOD, CA -- One of this year’s most successful comedies is Hot Tub Time Machine -- the story of four friends, all of them bored with their adult lives, who travel back to their heydays in the 80’s thanks to a time-bending hot tub. Digital content creation/production studio yU+co. added to the humor of the film with an opening title sequence that sets the perfect tone featuring a fast-paced photo collage of the history of hot tubs. yU+co. also created a closing title sequence that offers a pitch perfect parody of the classic Motley Crue music video ''Home Sweet Home,'' only with cast member Rob Corddy playing the part of lead singer Vince Neil.

The History of Hot Tubs in Pictures
According to yU+co. Art Director Synderela Peng, the concept for the opening titles centers on a photo collage that hilariously depicts the history of hot tubs, especially people partying in hot tubs. Set to the 80’s pop metal classic ''Turn Up the Radio'' by Autograph, the collage begins with rudimentary drawings of prehistoric man in hot tubs, then quickly swish pans to an array of photos through hot tub history -- from the Renaissance to the turn of the 20th century and up to modern day. Among the stand out photos are shots of a baby in an old wooden tub and a trio of senior women soaking in a tub littered with empty beer bottles.

''We wanted the open to complement the tone of the film and set the mood,'' Peng says. ''The concept simply was to show the history of people and hot tubs -- from cavemen to modern day -- obviously with a lot of funny pictures along the way.''

Although some of the photos are stock, the bulk of them were actually shot by yU+co designers at what may be the company’s first (and only) work-related hot tub party. All of the photos were tweaked digitally to adjust their color so they resembled old, faded photos with smudges and watermarks. They were then composited with objects, backgrounds and people that were either added in or taken out to spike the comedy. ''For example, we added beer bottles and drug paraphernalia to some of the stock images,'' says Peng. ''We also stayed true to the esthetic of the time with a color palette and a logo that has a decidedly 80’s feel to it.''

End Titles: Motley Crue Redux
The ending title sequences begins with the start of the classic Motley Crue music video ''Home Sweet Home,'' their paean to the good and bad times of life in a rock band, with one significant difference…actor Rob Corddry who wears a blonde wig and tight spandex, plays the role of lead singer Vince Neil.

Based on a concept from director Steve Pink, the yU+co design team took Pink’s footage of Corddry shot on an empty stage and edited it into the original video, which was up-res’d from a VHS copy to give it an appropriately degraded feel. In addition, yU+co contributed to the concept of freeze-framing on the altered video and adding touches of lightning, smoke, geometric shapes and grids and the occasional snakes, bats and skulls with wings -- all recognizable clichés found in most 80’s hard rock and heavy metal album covers.

''We had so much fun with this, and how could you not?'' adds Peng. ''We did a lot of research on 80’s album covers -- the font choices, color schemes, and so on. The freeze frame technique, which already has an inherent 80’s sensibility, compliments the video perfectly. We saw this as purely a graphic design assignment and it was great fun because we were given the freedom to be creative with typography and backgrounds, rather then trying to create some big visual effect.''

In addition to working on Hot Tub Time Machine, other recent yU+co. projects include the film title design for DreamWorks’ Shrek The Final Chapter 3D and a series of spots for the 2010 Census campaign. For Turkish Telecom, yU+co. also created two one-minute CG animated films introducing Marvel superhero characters to Turkish audiences, as well as a series of Iron Man 2 promos for the new film.


About yU+co: 
Recognized as an industry leader in motion graphics, visual effects and experiential design with offices in Hollywood, Hong Kong, and Shanghai, yU+co. (http://www.yuco.com) specializes in digital content for all media platforms including title design for film and television, visual effects and animation, theatrical logos, game cinematics, commercials and new media. For more information, contact: Dianna Costello for feature film and television projects or Michael Bennett for gaming/game cinematics and commercials at 323-606-5050.

Web Resources:
Click here to watch the Hot Tub Time Machine titles:
http://yuco.wiredrive.com/l/p/?presentation=bb91c4e09ea1d21fbca7d27d85f40747

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


Creative Credits:
Project: Hot Tub Time Machine titles
Client: United Artists/MGM Studios

Design/Animation: yU+Co., Hollywood, CA
Creative Director: Garson Yu
Executive Producer: Carol Wong
Design Team: Synderela Peng, Wayland Vida, Kaya Thomas, John Kim, Gary Garza, Miguel Rodriguez., Osamu Shishime.

Oink Ink Announces Call for Entries for 13th Annual “Dead Radio Contest”

NEW YORK, NY -- Oink Ink, the leading agency specializing in the creation and production of award-winning radio ads, announces the call-for-entries for this year’s Dead Radio Contest, the annual contest now in its 13th year honoring the best radio ads that we’re never produced. The deadline for this year’s entries is May 22, 2010 with the winning script to be selected in June. The winner will receive an all-expense-paid trip for two to Oink Ink’s production studios in New York or Venice, CA, to attend the recording session.

For further contest information and submission guidelines, visit http://www.oinkradio.com/2010DeadRadio or call 800-776-OINK.

The popular contest offers frustrated copywriters across the country the chance to submit their best un-produced radio scripts that have been ''collecting dust since their untimely deaths,'' says Dan Price, Oink Ink president.

A precursor to some very high-profile recognition, the contest has given a second chance to many first-rate scripts. In fact, six of the past winning spots convinced previously doubting clients to change their minds and broadcast the once dead work. Each of those spots ultimately went on to find success at numerous national and international awards shows, including Radio Mercury, Cannes Lion, Clio and London International winners.

Last year Dead Radio top honors went to Neil Blewett of the agency ZIG, Toronto, for his IKEA spot ''Morning Face,'' which features ‘Linda from HR’ who, to the horror of her office, traipses around with ‘morning face’ – something you get when you don’t sleep well. The Swedish announcer reminds us that “It’s called beauty sleep for a reason” as the spot goes on to promote Ikea’s Sultan Mattresses.

Blewett’s win marked the third victory in four years for writers from Toronto. ''I couldn't believe it at first,'' said Blewett of winning. ''I went from writing a spot that I felt really good about. To feeling disappointed when it didn't get approved. To crossing my fingers when I entered the contest. To being anxious when I heard I was a finalist. To doing arm pumps when I got the call that I won.''

____________________________________________

Click here to listen to the IKEA’s “Morning Face” spot:
http://www.oinkradio.com/2009DeadRadioWinner/v03/index.html
____________________________________________

''We believe in the spirit of great writing and great radio,'' adds Price. ''There’s a lot of good ideas out there; some of which never see the light of day. The contest is our opportunity to breath life into an idea that maybe should have been breathing all along.''

The contest also serves as a reminder to the marketing industry at large about the power of radio advertising, which is enjoying a renaissance lately.

Besides Oink Ink’s own recent growth, which includes new studios in mid-town Manhattan, new hires and a recent ‘top-track’ pick by Shoot magazine, a recent article in Advertising Age noted: ''double-digit increases in national and local spot buys among top marketing categories such as entertainment, financial services and automotive…And several analysts peg radio to finish 2010 with year-end revenue that is flat or even 2% higher than last year, which would mean the industry's first year-over-year gain since 2006.''


Oink Ink is an award-winning, bicoastal creative agency founded by veteran managing director and president Dan Price and his brother, executive creative director Jim Price. Oink Ink writes, produces, directs and manages radio advertising for ad agencies, client-direct accounts, cable network promos and special projects. Headquartered in New York, and with offices in Los Angeles, Oink Ink has been providing high-end radio work for 18 years, for such notable clients as Google, AT&T, CBS Television, Coors Light, Ford, IBM, Southwest Airlines and Staples, to name a few. Oink Ink is a sister company of 38 Greene Studios in New York, which produces sound design, radio, audio for TV and original music work for such ad agency leaders Wieden + Kennedy, BBDO, McCann-Erickson, Ogilvy, Publicis and Saatchi & Saatchi.