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Artist owned-and-operated bi-coastal effects boutique Brickyard VFX completed work on “Fishing” and “Entrepreneur,” the newest spots from Mass Mutual Financial Group. directed by Anonymous Content’s Robert Logevall for agency Mullen in Boston.

Both commercials feature moody lighting and weather effects. The :30 “Entrepreneur” opens on a businessman inside a high-rise office building looking longingly at a photo of his daughter while peering out the window into the dark city. The scene transitions to a shot of the same man looking out the window in his sunlit home, watching his daughter leap into the backyard pool. A child’s crayon scrawl on construction paper reads “Daddy’s Office.”

The :30 “Fishing” opens on two fishermen enjoying a quiet, sunny afternoon. A peal of thunder rumbles and dark clouds encroach on the idyllic scene as the two men give each other anxious looks and speed their motorboat back to the pier. The spot closes with a shot of a window being gently pelted with the first drops of rain. Both spots close with the voiceover, “What is the sign of a good decision?” and end with the Mass Mutual logo and tag.

Brickyard VFX performed extensive compositing for the spots, creating day for night looks in “Entrepreneur” and adding storm clouds and lightning effects to “Fishing.”

“In addition to overall effects, for ‘Entrepreneur,’ we added the element of a woman sitting at the edge of the pool with her legs dangling in the water. This was filmed matching lighting conditions with our RED camera. The element was acquired without the use of water, we added photo-real water displacement and color correction,” explained Brian Drewes, executive producer, Brickyard VFX.

About Brickyard VFX
Bicoastal Brickyard VFX has been delivering top quality visual effects and CG for commercials since 1999. Brickyard’s sought after artists are equally comfortable supervising shots on-set as they are at bringing imaginative effects sequences to life inside the studio. The Brickyard ethos comes through in the inspired, comfortable and technologically state-of-the-art spaces that make the company a first stop destination for visual effects in both historic downtown Boston and sunny Santa Monica. Brickyard’s talented VFX and CG teams have completed projects for such brands as Fidelity, Target, Sprint, Pontiac, Hummer, Budweiser, Visa, Comcast, Adidas, Volkswagen, Honda, ESPN, Orbitz, Bank of America and many other.

www.brickyardvfx.com

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With the fanfare of the Olympics over, a buzz still remains over the new Chevy “Disappear” spot, which was created by ad agency Campbell-Ewald and directed by Eric Saarinen of TWC. VFX company Ntropic was commissioned to create the complex and intensive VFX in the :60 spot.

Using time-lapse techniques, the spot showcases the evolution of a gas station over the years, culminating in the reveal of Chevy’s electric Volt car in 2010, a symbol of the company’s commitment to fight for the environment.

For Ntropic, the spot involved a high level of detail to the visual effects typically reserved for feature films. Ntropic Creative Director/Lead CG Artist/Set Supervisor Andrew Sinagra worked very closely with Saarinen in pre-production, using CG to determine the exact layout and design of each gas station, as well as the concepts and vignettes prior to shooting. Ntropic also studied extensive reference material for fonts, wardrobe and signage from the different eras for accuracy in the final product.

“We wanted to balance the spot so the viewer felt a continuing progression of time with all of the activity that would take place, but still be able to concentrate on our hero vignettes, which truly captured each iconic time period,” explains Sinagra. “There is also the varying concept of time throughout the different elements. The background mountains, gas stations and vignettes are each moving at their own rate. Each one is designed to tell the story of progress while maintaining all the key moments in each section.”

The piece was created through a single lock-off as if someone truly planted a camera back in 1920. This created some interesting challenges for design and layout on how to best showcase each gas station with its ever-expanding size while still being able to feature the Chevy Aveo, Tahoe, and Volt without ever cutting or moving the camera. There was also the continuing discussion of how much was too much.

“This is a beautiful high-concept spot,” adds Nathan Robinson, Ntropic Creative Director, “and one that we knew people were going to watch frame by frame. You cannot possibly catch everything in one view. We reviewed the spot one frame per second to make sure the visual elements would stand up under close scrutiny. The most rewarding part has been the comments on YouTube – people really take notice of the smallest of details.”

The five-day production involved a two-day time-lapse shoot in Wyoming for background plates; two days in Los Angeles against an exterior greenscreen for all of the foreground elements such as cars and people; and a one-day shoot in Detroit for the Volt prototype. Shooting the foreground elements posed a particular challenge because the lighting conditions needed to match as time evolved for each element. Saarinen wanted to use real sunlight to illuminate the foreground elements.

To meet this challenge, in previsualization Ntropic determined that they would have a sun cycle of roughly two days so each time period had to be shot linearly in its appropriate section of time. In addition to lighting challenges, elements were shot at different frame rates. Some of the background elements were shot between 1.5fps to 6fps while hero foreground vignettes were shot at 24fps with the knowledge that many frames would be discarded.

“Every frame in the spot is handpicked,” says Sinagra. “We knew there would only be a few frames devoted to each element. By shooting at 24fps, we could pick and choose the exact moments in time that will tell the story. Eric was so great on set. The CG for the gas stations was happening simultaneously as we were shooting so he would provide elements for me as needed. The creatives at Campbell-Ewald were very involved and hands-on through the entire process. They were as passionate about the details as we were. We went through a lot of iterations to hit the fine points in the spot.”

“We were really excited about this concept,” concludes Robinson. “The complexity and condensed timeline of the VFX was an opportunity for us to show what we’re capable of. We’ve worked with Eric Saarinen on several campaigns now. Creatively, we’ve gained his trust and he knows that we’ll make the right decision. We look at the piece as a whole – how the film looks, how the sound is incorporated, and how they play together – rather than just from the VFX perspective. It was a nice validation to receive praise from the Campbell-Ewald creatives for the work that we had done.”

The final stages involved one week of edit and four weeks of postproduction. The technology utilized by Ntropic included Autodesk Maya, Shake, After Effects, Silhouette, Flame, Inferno, and Smoke.

“Disappear” began airing during the Olympics Opening Ceremony.

CREDITS
CLIENT: Chevrolet

Spot Title: “Disappear” :60

Ad Agency – Campbell-Ewald
Creative Directors – Michael Stelmaszek and Robin Todd
Art Director – Bob Guisgand
Copywriter – Duffy Patten Producer – Joe Knisely
Production Company – TWC
Director – Eric Saarinen
Managing Director – Mark Thomas
Executive Producer – Steve Ross
Producer – Craig Repass
Production Designer – Sean Hargreaves
Editorial – Beast
Editor – Igor Kovalik
Assistant Editor – Amanda Elliott
Executive Producer – Valerie Petrusson
Producer – Ashley Hydrick

VFX – NTROPIC
Creative Directors – Nathan Robinson and Andrew Sinagra
Executive Producer – Dana Townsend
Producers – Kara Holmstrom and Esther Gonzalez
Lead Inferno Artist – Nathan Walker
Inferno Artists – Dominik Bauch, Maya Korenwasser-Bello, Matt Tremaglio, Jesse Boots
CG Supervisor – Peter Hamilton CG Artists – Deb Santosa, James McCarthy, Dustin Zachary, Javier Bello, Thomas Briggs, Robert Hubbard
Compositors – Marie Denoga, Ed Anderson
Telecine – Company 3
Colorist – Mike Pethel
Music – Amber Music
Composer – Soviet Science
Executive Producer – Michelle Curran
Producer – Patrick Oliver

About Ntropic:
Ntropic is a boutique VFX company with offices in San Francisco and Los Angeles. Since opening its doors in 1996, the studio has thrived on creating 2D and 3D visual effects for cinematic high-concept work from feature films such as “Underworld Evolution” and “The Matrix Revolutions” to commercials for Nissan, Mercedes, Coca-Cola and Kohl’s to music videos for My Chemical Romance, Justin Timberlake and Green Day. A staunch believer in creative collaboration and integrating all aspects into the whole, Ntropic partners with filmmakers to envision and design shots, and incorporate music and sound design.

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Supply and Demand recently tapped the visual effects team at Riot to collaborate on a new spot for the MGM Grand with ad agency SKG. Directed by Bruce Dowad, the Busby Berkeley-inspired, 30-second commercial features extensive visual effects by Riot.

“Illusion” immerses viewers in the imagination of a woman vacationing at the MGM Grand. Gazing into her crystal martini glass, she’s swept into a mystical world. Adorned in an elaborate showgirl costume, she rides a giant swan through a theatrical setting before diving into the air, which morphs into water. She wades past a magnificent martini olive before the spot shifts back to reality.

With the snap of a finger, her charming date puts their table center stage as a procession of dazzling showgirls wearing gold costumes enter a spiraling ramp surrounding them. The spot concludes with a series of spinning-record-dance-floors under the light of golden disco balls, and playing cards falling from the sky like confetti.

About Riot:
Riot is a creative studio featuring a diversity of high-end talent and technology. The Riot team dedicates itself to attentive collaboration, approaching each project holistically, drawing upon a deep knowledge of visual effects, color correction and live action experience. Recent feature film credits for Riot include: Time Traveler’s Wife, The Spirit and Jumper, and 17. Commercial campaigns and music videos recently completed at Riot include spots for Target, MGM Grand, Burger King, Spike TV and Nike.

Credits:
Client: MGM Grand
Spot Title: “Illusion”

Ad Agency: SK+G
Executive Creative Director: Eric Stein
Creative Directors: Ted Trautwein, Bill Kauker Art Directors: Joe Bergman, Jordan Roweider
Copywriters: Miles Nebeker, Jill Spradley
Producer: Joaquin Rosales

Production Company: Supply and Demand
Director: Bruce Dowad
Executive Producer: Keira Carstensen
DP: Bojan Bozelli
Producers: Leora Glass, Sartia White

Where Shot: Culver Studios, Culver City, CA

Editorial Company: King Cut/Venice, CA
Editor: Enrique Aguirre

VFX Company: Riot/Los Angeles
Creative Director/VFX Supervisor: Andrew MacDonald
Compositors: Andrew MacDonald, Wensen Ho, Joey Brattesani, Kevin Prendiville, Satoshi Ozeki, Claus Hansen Desktop Compositers: Robert Tatum, Cecile Tecson, David Hernandez CG Artists: Andy Lesniak, Michael Johnson, Bryant Reif Executive Producers: Matthew McManus, Robert Owens

Postproduction Company: Company 3/Los Angeles
Colorist: Rob Sciarratta
Assistant: Jim Harmon
Producer: Denise Brown

Popularity: 7% [?]

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VFX Supervisor/Lead Compositor Sean Devereaux of Asylum creates the CG for a thrilling, yet humorous :60 spot titled Demon Carts, directed by Geordie Stephens of Tool of North America. It’s Stephen King’s Christine revisited with a twist, as the spot opens on several “evil” shopping carts with minds of their own.

The rogue carts meander a parking lot amongst their slain victims; over-turned smoking cars powerless to their unfaltering assailants. The slick maneuvering of the Mini Cooper, however, is unrivaled by the carts as they are unable to strike their nemesis.

About Asylum:
Asylum is a premier visual effects and design company, handling high-profile features, commercials, music videos, and emerging media content for web and mobile platforms. Asylum created the visual effects for such films as Master And Commander: The Far Side Of The World (Academy Award and BAFTA nominated), Moulin Rouge, Minority Report, Phantom Of The Opera, Pirates Of The Caribbean ll & lll, Mel Gibsons’s Apocalypto, Tony Scott’s Déjà Vu, Man on Fire & Domino and Ridley Scott’s Black Hawk Down. Asylum has done spot work for brands such as Nike, Sony Playstation, Coke, BMW, Gatorade and Visa.

In addition, Asylum Design has created award winning title and graphic design work for such films as Tim Burton’s Charlie and the Chocolate Factory, X-Men I & II, The Island, Bad Boys II and XXX.

The Creds:
Client: Mini Cooper
Spot Title: Demon Carts :60
Air Date: September 2008
Agency: Butler, Shine Stern & Partners
Executive CD: John Butler
Associate CD: Steve Mapp
EP: Adrienne Cummins
Sr. Producer(s): Kat Friis
Prod Company: Tool of North America
Director: Geordie Stephens
DP: Richard Henkels
EP(s): Jennifer Siegel, Brian Latt
Producer: Joby Ochsner
Production Supervisor: Brendan Kling
Production Coordinator: Brian Armstrong

1st AD: Mike Curtis
2nd AD: Joe Gray

Post/Effects: Asylum
VFX Supervisor/Lead Compositor: Sean Devereaux
Inferno Artist: James Allen
EP: Michael Pardee
Producer: Darcie Muangman
Bidding Producer: Michael Hanley
Coordinator: Jennie Burnett
Editorial: Cosmo Street
Editor: Christian Jordan
Telecine: Complete Post
Audio Post: Lime Studios
Music Company: Beacon Street Studios

Popularity: 7% [?]

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Sometimes being hungry for a hot dog is no laughing matter. Thanks to Los Angeles-based DUCK, formerly Duck Soup Studios latest Wienerschnitzel campaign, craving a hot dog has never been more amusing!

Helmed by live-action directors Docter Twins and animation directors Lane & Jan (Lane Nakamura and Jan Chen) the four laugh-out-loud spots, via DGWB of Santa Ana, CA, represent the fast food chain’s resurrection of their beloved animated character The Delicious One (TDO).

“The Wienerschnitzel spots are hysterical!” exclaimed Mark Medernach, Executive Producer at DUCK. “Docter Twins and Lane & Jan worked really hard, and we are very happy with the results. It was a total team effort. The spots are a fantastic blend of live-action environments and an unmistakably original animated character, TDO.

Made entirely in-house, the campaign reflects the versatility of services we offer here at DUCK.” “The spots were really fun to make!” said Docter Twins. “The agency had a clear vision of what they wanted, and everyone at DUCK was very supportive in helping us guide that vision. Working with Lane & Jan was a pleasure. We are extremely excited have DUCK’s amazing resources at our fingertips. It opens up endless creative possibilities.”

SPOT DESCRIPTIONS:
HR – A traditional meeting between an employee and an HR manager. TDO complains that he’s been receiving inappropriate advances from his co-workers. Meanwhile, two hungry office pranksters are outside the HR office taunting him. It appears that everyone in the office wants to eat The Delicious One!

Gotcha – Set against the backdrop of a college dormitory filled with debauchery. We see a hungry female student frantically chasing TDO through the hallway. She’s starving, and boy does she want a hotdog.

Blubber – A group of Eskimos are huddled in a make shift tent in the Alaskan tundra, preparing to have yet another meal of blubber – boring, old, tasteless blubber!

Predator: A witty spoof of the MSNBC news documentary show To Catch a Predator.

ABOUT DOCTER TWINS:
Docter Twins have completed spec spots for Spike TV, Kit Kat (Arnold), Truetone Music (Y&R, Irvine) and the Fox Soccer Channel. They also helmed two regional spots for Indianapolis’ Roman Brand Group client Sky Bank.

In addition to their directing prowess, the Docter Twins are also actors, appearing in campaigns for EarthLink, Northwest Airlines, IBM, Saturn, and POWERade. The duo has worked with companies including Traktor, Biscuit, and Pytka to name a few. As a Local 600 Camera Assistant, Matt has worked heavily in commercials, music videos, and in episodic TV. Matt directed a music video for Alanis Morissette which won Best Director and Best Video at the Elevate Film Festival (2007).

While in college, the Docter Twins formed an indie rock band which toured with Oasis, Sheryl Crow, Matthew Sweet, and Poi Dog Pondering. Between tours, Matt began producing and directing documentary projects for PBS while Jason moved to Los Angeles to record a solo record. Not long afterwards, Matt too moved west, and the twins earned a demo deal with Virgin Records. The deal birthed many songs which have been placed in shows like Army Wives, ER, Roswell, and The Real World.

Both Jason and Matt are graduates of the University of Illinois where they each double-majored in English.

ABOUT DUCK:
Los Angeles-based DUCK, formerly Duck Soup Studios, is a continually evolving creative studio producing commercials, music videos, short films and web content. DUCK offers a wide range of services, including live action and integration, character design, film title design, 2D and 3D animation, digital compositing, digital/traditional ink & paint. In recent years, the studio has expanded, adding an original content division that works with writers and animators on unique ideas for film and TV.

CREDITS:
Client: Wienerschnitzel
Spots Title(s): HR, Gotcha, Blubber, Predator

Agency: DGWB
Partner/ECD: Jon Gothold
ACD/Writer: Steve Harbour
ACD/Art Director: Joe Cladis
Agency Producer: Scott Seltzer

Prod Company: DUCK
Directors: Docter Twins
Director of Photography: Simon Thirlaway
Animation Directors: Lane & Jan
Executive Producer: Mark Medernach
Producer: Jim O’donnell
Production Designer: Justin Trask
Editor: Melissa Timme
Animators: Jim Richardson, Tom Roth, Eric Molina, Jan Chen, Lane Nakamura, Dony Permedi
Modeling and Rigging: Brandon Perlow
Lighting & Texturing: Huyen Dang, Stephen Hensley
Compositing and FX: Joe Kim

Popularity: 7% [?]

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