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Superfad was honored to help the comic relief red nose campaign by taking on the nose animation quota for both the charity and the BBC/red bee’s cross media campaigns.

Commissioned to create a series of promos for TV, web and cinema, Superfad developed and animated the launch spots for the three iconic red noses (This One, That One and The Other One, new designs for 2009) and in doing so help developed the awareness campaign hand in hand with the charity. The animated noses also feature in the launch trailer starring the comic duo Simon Pegg and Nick frost.

“Breathing life into the three noses was a lovely animation project, made all the more satisfying in the light of the incredible achievements of comic relief. It also helped that we kind of fell in love with the noses themselves and so channeled that love into making them move in a proper rubber nose authentic way. I think that makes us rubber animation pioneers.” Superfad London

Red Nose Day aims to make a difference to the lives of thousands of people living in abject poverty, or facing terrible injustice, both across Africa and in the UK. From combating domestic violence to assisting people affected by HIV and AIDS, Red Nose Day funds long-term projects that help people help themselves.

Since its launch 25 years ago, Comic Relief has generated over 500 million GBP for numerous worthy causes. The main TV event broadcasts on BBC 1 on 13 March 2009.

About Superfad
Superfad is a brand-driven design and live action production company; a collective of designers, directors, animators, and artists. Their mission is to see brands in unexpected ways and to express a brand’s voice in an undeniably original fashion.

Superfad’s work runs counter to the trend of design studios who present a singular house style. With offices in Los Angeles, New York, Seattle and London, thier work is informed by a wide array of cultural and intellectual influences. Fine art, science, math, and literature are fused with illustration, photography, and technology to produce stunningly original imagery.

Superfad was founded in 2001 and has produced award-winning work for many of the most respected brands worldwide. Honda, Sony, Target, Adidas, and AT&T are just a few of the companies who have turned to Superfad for inspired branding.

RELATED LINKS
http://superfad.com/about.php

www.rednoseday.com

www.comicrelief.com

Popularity: 25% [?]

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The challenge with the E-Trade baby is – as it is with any well established (and loved) character – to move him on without losing the qualities that endeared him in the first place.

Agency Grey Worldwide (NY) and Director Randy Krallman for Smuggler have done this triumphantly in two new spots that they unveiled during the 2009 Super Bowl. 401K and Wings both feature our youthful hero (voiced, as previously, in a superbly laid-back performance by the director) but in each case there is a second character – a golfing rival and a keen amateur vocalist.

To add more would be to spoil the fun, but suffice to say that the droll tone is once more note perfect. Senior Flame Artists Alex Thomas and Raul Ortego led Framestore’s efforts, supported by Tom Leckie and Mindy Dubin.

“As with Trading and Banking, we had a large task to complete in a very short time. The new elements of a longer monologue and interaction with a second character added to the challenge but, as always, our amazing team of Flame Artists delivered brilliant work.”
Laney Gradus Head of Production, Framestore

About Framestore
Framestore has been working in digital film and video for over 20 years now, creating original and astonishing work that has helped make it the largest visual effects and computer animation studio in Europe.

Amongst Framestore’s notable commercial credits are Smirnoff Sea (winner 2007 VES ‘Visual Effects in a Commercial’, The Chemical Brothers The Salmon Dance, Casino Royale – Title Sequence, Vauxhall C’mon campaign , Sure Go Wild, Guinness noitulovE, Johnnie Walker Fish, Levi’s Odyssey and Guinness Surfer.

CREDITS
Agency: Grey Worldwide
Chief Creative Officer: Tor Myhren
Executive Creative Director: Noel Cottrell
Creative Director: Paul Behnen
Executive Producer: Alison Kunzman
Art Directors: Paul Behnen, Amy Ferguson
Copywriters: Eli Terry, Randy Krallman
Agency Executive Producer: Bennett McCarroll
Agency Producer: Alison Horn
Production Company: Smuggler, New York
Director: Randy Krallman
Editorial: Joshua Berger @ Cosmo Street
Visual Effects: Framestore
Graphics: Speedshape
Audio: Sound Lounge

RELATED LINKS
www.framestore.com

www.grey.com

Popularity: 22% [?]

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Rhino Creative Director/Visual Effects Supervisor Vico Sharabani collaborated with Director Iain Mackenzie of Paydirt and Merkley+Partners to develop two spots introducing the Mercedes 2009 GLK model, a new smaller, sleeker SUV.

The spots showcase the agility, beauty, and functionality of the new model, as it navigates the winding streets of old Italy with ease, squeezing between two semis unscathed, and passing through the trunk of a redwood without a splinter. The beautiful footage, shot by Mackenzie, was enhanced through a Flame color correction system that was specifically tailored for Mercedes by Vico and Rhino lead artist Mickey Gorenstein. Gorenstein developed an eye for Flame color correction working at Gravity Visual Effects in Tel Aviv before moving to Rhino.

Vico noted, “Incorporating these color correction techniques enabled some creative exploration of different palettes and textures, giving us more precision and allowing contextual replacements that just wouldn’t have been possible in Telecine. Our system enables our Flame artist to color correct isolated images while compositing. It’s a more specific process, and a more efficient process, highlighting individual elements and color correcting them independently.”

Additionally, because the vignettes were shot at different times of the day in different locations, the Rhino team had to replace the backgrounds, reconstruct the landscapes, adjust the lighting and luminance and color per scene for seamless continuity. “This kind of work comes up frequently in car spots,” notes Managing Director, Rick Wagonheim. “The money isn’t available anymore for directors to wait for the perfectly sunlit moment to shoot. Ian is a brilliant director and gave us brilliant looking film, but he too is at the mercy of reality, and our job is to create a better reality, another reason for color correcting in Flame.”

The ongoing partnership between Rhino, Merkley+Partners and Mercedes-Benz includes two-dozen design-heavy effects spots, many of which Vico was the Creative Director/Visual Effects Supervisor. Rick continues, “Agencies and directors love Vico, first as a creative director for his eye, and secondly for his contribution and collaboration as a visual effects supervisor. He always looks for director-friendly solutions that guarantee great looking film, never encumbering the shoot. Thirdly, everyone loves Vico because he’s got a great vibe!”

Rhino’s work for Mercedes is the latest in a string of successful ventures for major brands and feature films including recent Golden Globe nominee, The Reader, Dreamworks’ comedy, Ghost Town, Soul Men, starring Samuel L. Jackson, and spots for Cadillac, Verizon, Subway, ESPN and Toyota.

About Rhino:
Since its launch in 2000, Rhino has created award-winning visual effects, design, and animation for commercials, VFX for feature films, episodic television, webisodic mini-series, and videogame cinematics. The company’s principals and artists have also led the industry’s exploration into the boundless potential of branded digital content. By cultivating extensive relationships with key brands, advertising agencies, and film/TV studios, Rhino utilizes its creative directors and artists to develop and execute powerful branded entertainment to build both identity and awareness. The company’s principals include: CD/Director Vico Sharabani, CD/Director Harry Dorrington, CD/Director Arman Matin, CD/Director Natasha Saenko, COO/EP Camille Geier, Managing Director Rick Wagonheim, and CEO North America Zviah Eldar.

The Creds:
Client: Mercedes-Benz
Spot Title(s): New Arrival, Narrow
Airdate: January 2009

Agency: Merkley + Partners
Exec CD/Partner (New Arrival): Andy Hirsch, Randy Saitta
Group CD (Narrow): Scott Zacaroli, David Fox
Senior Producer: Rachel Novak

Prod Co: Paydirt
Director: Iain Mackenzie
EP: Jonathon Ker

Post/Effects: Rhino
CD: Vico Sharabani
Lead Flame Artist: Micky Gorenstein
Flame Artist(s): Theodore Maniatis, Steve Koenig
Producer: Linda Gallagher
COO/ Sr. EP: Camille Geier
Managing Director: Rick Wagonheim

Editorial: BUG
Editor: Andre Betz
EP: Jane Weintraub

Popularity: 19% [?]

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New Deal Studios received two prestigious awards from the Visual Effects Society (VES) at the Awards Dinner held on February 21, 2009 at the Hyatt Regency Century Plaza Hotel in Los Angeles. The 21st Century studio was again acknowledged for its outstanding miniature effects artistry within the feature film and commercial arenas.

New Deal received an award for “Outstanding Models/Miniatures in a Feature Motion Picture” for “The Dark Knight”; and a second award for “Outstanding Models/Miniatures in a Broadcast Program or Commercial” for a fast-paced commercial for New Balance athletic shoes entitled “Anthem”:

Outstanding Models and Miniatures in a Feature Motion Picture
“The Dark Knight” – Garbage Truck Crash Models and Miniatures
Ian Hunter:Visual Effects Supervisor
Forest Fischer: Model Crew Chief
Scott Beverly: Mechanical Effects Supervisor
Adam Gelbart: Lead Model Maker

Outstanding Models and Miniatures in a Broadcast Program or Commercial
New Balance – “Anthem”
Ian Hunter: Visual Effects Supervisor
Jon Warren: Miniature Crew Chief
Matt Burlingame: Lead Model Maker
Raymond Moore: Lead Carpenter

About New Deal Studios:
New Deal Studios was founded in 1995 by Matthew Gratzner, Ian Hunter and Shannon Blake Gans. This artist-owned and operated, independent company is housed in two buildings in Marina del Rey, California. NDS has developed over the years into a full-service production and visual effects studio unlike any in the world. NDS contributes to each project by using a diverse palette of artistic tools that range from the art department, workshop, production, to the digital department and DI suite. Creativity and solid management practices are the foundation upon which NDS has grown over the years and why all major studios continue to entrust NDS with high-profile projects such as “Terminator Salvation,” “Shutter Island,” “Alice in Wonderland,” “Night At The Museum 2,” “Iron Man,” “Watchmen,” “Whiteout” and “Batman: The Dark Knight.”
www.newdealstudios.com

Popularity: 20% [?]

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Crossroads’ recently signed director Stuart Rideout helms a terrifying tale of Armageddon for the PS3’s Resistance 2 game via Deutsch, LA.

The spine-chilling :60 cuts to menacing prophets from various periods in time including: the desert prophet, the oracle, the young Buddhist monk, the blind man, and the voodoo lady; their sensory accounts anecdotally tell the story of impending doom.

Resistance 2 begins by profiling an eerie old blind man in a hospital recanting a horrifying nightmare. Suddenly, we cut to a man shrouded in a cloak aimlessly wondering the desert babbling of the humming noises he has heard from above.

Interspersed scenes from the game mix with supposed reality. Another quick cut takes us to an angelic woman circling a large white rock, a scary voodoo lady, then to a young monk boy lying on a table telling how “they” are coming in large numbers.

About Crossroads:
A multimedia and content creation firm, Crossroads offers a clear vision, innovative leadership, and unparalleled reach into the entertainment talent pool. With headquarters in New York, Los Angeles, Chicago, London, and an affiliate office in Toronto, Crossroads has six divisions: Film, Television, Commercials, Music Videos, New Media, and Creative Services. All offer exclusive talent featuring some of the world’s top directors, show creators, writers, and producers.

Founded in 1989, Crossroads has been a consistent leader in the development and production of feature films and television programming, as well as producing award-winning commercial and music video content for top-tier brands, agencies and performing artists.

www.crossroadsfilms.com

The Creds:
Client: Sony (Playstation 3)
Spot Title: Resistance 2
Air Date: January 2009

Agency: Deutsch, LA
CD: Jason Elm, Michael Bryce
Art Director: Brandt Lewis
Copywriter: Josh Fell
Producer: Marisa Wasser

Prod Company: Rascal Films
Director: Stuart Rideout (Now @ Crossroads)
DP: Bill Pope
Executive Producer (UK): Scott Horan
Executive Producer (Rascal Films, Ltd.): Jim Golden, Pete Christy

Editorial: The Whitehouse, LA
Editor: Lisa Gunning
Assistant Editor: Justin Beere
Producer: Justin Kumpata

Telecine: MPC
Colorist: Mark Gethin

Post/Effects: ZOIC
Flame: John Shirley
CG/3D Artist(s): Matt Rosenfeld, Scott Rosekrans
Compositing: Sean Apple

Sound Design: Lime
Sound Designer: Loren Silber

Shoot Location: Blue Cloud Ranch – Saugus, Ca.

Popularity: 34% [?]

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Toronto-based digital boutique Secret Location has launched a massive, ground breaking immersive multi-player online role playing game to support new TV series I Prophesy.

The TV Show:
I Prophesy, which launched on January 27th on Vision TV, is a 17-part series looking at potential futures for humanity. Each episode focuses on different scenarios: the world after a nuclear attack, asteroid showers or rising oceans, as well as more positive developments including the rise of nanotechnology and utopian societies.

The Game:
Concepted, designed and built over a year by Secret Location, www.iprophesy.net is the first MMORPG to be created for a TV show or brand, tapping into the exploding popularity of both online multi-player gaming and social media.

Iprophesy.net acts as a complementary integrated extension and traffic driver for the show which creates a more impactful, deeper experience, yet adds an interactive, social networking component. Fans of the show create custom avatars and explore 13 `worlds’ modeled on the scenarios. Each world contains games, clips from the show as well as original stylish filmed content.

The worlds act as a vividly realized logical next step in online forums (think Second Life with more purpose), avatars are encouraged to chat and collaborate with other players in real time to solve games and puzzles. Forum posts from an external RSS feed on the website are part of the game play, appearing at the top of each world.

Points are generated through online interaction, answering various questions and exploring multiple worlds. Each week during the show, a winner and special survival pack prize are awarded. In addition, both the website and TV show have been aggressively promoted through search engine optimization (SEO) efforts and social media channels, with writers employed to build grass roots buzz in topic and demographic specific online forums.

“The broadcaster didn’t give us a traditional brief, instead they brought us in for a meeting and discussed what they wanted this show to do for their network,” explains Secret Location Founder and Creative Director James Milward. “Joan Jenkinson, head of original programming at Vision TV wanted to create an original way for fans to be able to connect and discuss the topics and issues related in the episodes. They wanted to create a unique community around the subject matter and to expand their audience to a younger demographic. We came back to the network with the idea and they loved it. We went into development with them that day.”

A New Marketing Model for TV:
The site offers a blueprint for an innovative new marketing tool for TV executives trying to encourage viewers to interact with their programming offline.

Monetizing Digital:
Simultaneously the site offers the tantalizing, entrepreneurial proposition for digital production companies looking to monetize their creations beyond the work-for-hire model. Because Secret Location owns the iprophesy.net property and engine, they are able to license the show rights to the network as well as charge for advertising within the game.

“The game was designed specially to integrate sponsorship,” comments Milward. “Sponsors can “clothe” avatars, say with Nike sneakers, or create contextual advertising within specially created positions, instead of obtrusive banners or pre-roll. The site can also be quickly re-skinned to suit any brand or TV show’s particular requirements.”

About Secret Location:
Secret Location is a creative digital production studio that delivers engaging experiences and products to increase brand experience and audience relationships. Secret Location’s mission is to produce highly inventive integrated creative solutions for advertising agencies, broadcasters and third-party film and television producers. Secret Location works in tandem with independent TV production companies to create content across multiple media platforms and create innovate creative and business solutions. www.secretlocation.com

The Creds:
Digital Studio: Secret Location, Toronto
Creative Director/EP: James Milward
Creative Director: Warren Brown
Lead Designer: Pietro Gagliano
Technical Director: Mark McQuillan
Project Manager: Noora Abu Eitah
Flash Development: Denis Kartashevskiy + Jam3 Media
System Design: Tony Walsh and Phantom Compass
Cinematic Direction: Michael Leach
Matte Paintings: Amro Attia, Keith Lee
Editing and Compositing: Steve Miller
3D: Anthony Murray, Dan Power, Svetlana Bogdanovich, Javier Felipe Castellanos

Related Links:
www.iprophesy.net

www.thesecretlocation.com

Popularity: 27% [?]

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Motion design and production studio Royale recently completed a comprehensive re-design of Discovery Channel’s on-air look and branding. Playing with the idea of “discovery,” Royale created a high-energy package that exhibits Discovery Channel’s repertoire of stunning show footage and imagery in unexpected ways.

“Royale brought an idea to the table which brings to life the awesome, unusual and authentic moments found in our programming by combining a series of stills with dynamic 3D animation,” says Heather Roymans, Creative Director of Marketing at Discovery Channel. “Brilliant. Working with Royale was such a pleasure; the collaboration came easy. They brought such spirit, creativity and an impressive work ethic to this project.”

“Royale showed amazing technical savviness in creating a simple interchangeable system generating unlimited combination of visuals,” adds Amie Nguyen, Art Director at Discovery Channel. “Their commitment to the quality of their work made the process a strong experience.”

The dynamic transitional device, developed by Royale, evokes the magical, elemental nature of experiencing life and learning. Images break into 3D cubes, flipping and unfolding like an enchanted mosaic that reflects the mystery and charm of discovering.

Impressed by their promo package for the Discovery Channel show, “Mythbusters,” Royale was asked by SVP Creative James Hitchcock and VP Creative Dan Bragg to refresh the network’s on-air identity and branding.

“We’re all ‘Discovery Channel’ junkies so it was a huge honor to work on this project,” comments Jayson Whitmore, Royale Creative Director/Partner. “Our goal was to create a simple clean package that would visually embody the idea of ‘discovery’ and unify the look of the entire network for years to come. In exploring different techniques, we were able to establish the right expressions of energy and anticipation through the animations.”

“Our design had to carry us from image to image in fluid yet surprising ways,” explains Brien Holman, Royale Creative Director/Partner. “The cube elements were given dimension without being cumbersome or requiring the Discovery team to use 3D to produce. It looks sophisticated, with the cubes seeming to magically come out of the screen, but it is actually a technically simple and easily adaptable system.”

Holman, Whitmore and their team animated everything by hand — parceling the images into squares, and rendering numerous mattes of the correlating shadows. The client could then throw any texture or footage onto the mattes and break up the images into 3D cubes.

“This was a heavy After Effects delivery for us,” comments Holman. “Hundreds of squares can become a mess very quickly so it was key to have good solid animators with keen design sense. We had to determine how the images and storylines would flow from one to another in the most visually compelling way.”

Royale was also tasked with refining the Discovery Channel logo, which had undergone a design overhaul last spring. The studio revamped the network’s signature globe icon, giving it dimension and finessing the typography. The new logo is currently being used across all of Discovery’s collateral materials such as letterhead and business cards.

The comprehensive package for the Discovery Channel includes branding elements, IDs, show menus, transitions, and lower thirds, as well as a generic toolkit of graphics and animation.

“This was such an organic collaboration with the Discovery team,” says Whitmore. “They were calm and trustworthy, and gave us the creative space to do what we needed to do. We greatly appreciated each other’s input.”

“We created a contemporary branding characteristic that is uniquely theirs,” concludes Holman. “It’s the foundation for everything they’re doing on their network now. It was a nice vote of confidence to help evolve such a well known brand as the Discovery Channel.”

About Royale:
Founded by creative directors Jayson Whitmore, Brien Holman and executive producer Jennifer Lucero, Royale recognizes that the landscape of advertising has changed drastically within the last few years, and that although the outlets may be changing, the power of the moving image continues to be the most effective way of communicating. Royale’s greatest love is to help solve our client’s advertising needs through the visceral language of motion design.

CREDITS
Client: Discovery Channel
SVP Creative: James Hitchcock
VP Creative: Dan Bragg
Creative Director, On-Air Marketing: Heather Roymans
Supervising Producer: Sarah Murphy
Production Manager: Kevin Lahr
Art Director: Amie Nguyen

Production, Design, Animation & Editorial Company: Royale / Los Angeles, CA
Creative Directors: Brien Holman, Jayson Whitmore
Executive Producer: Jen Lucero
Producer: Anne Hong
Art Director: Camille Chu
Designer: Kyle Smith
Animators/Designers: Kevin Tonkin, Anthony Madlangbayan, John Robson
Animators: Greg Reynard, TJ Sochor, Levin Sadsad

www.weareroyale.com

Popularity: 20% [?]

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Juan Delcan from Nola Pictures recently teamed up with Rabbit director Catherine Owens to create the screen visuals for U2’s brilliant opening performance at the 2009 Grammy Awards broadcast.

Artists, designers and animators from creative house Loyalkaspar were enlisted to collaborate on the project which was edited by Union Editorial.

Catherine Owens is a long time art director for the band’s live shows and was co-director of the 2008 U23D movie.

CREDITS:

Rabbit
Director: Catherine Owens
Exec Producer: Betsy Blakemore

Nola
CD/Designer: Juan Delcan
Exec Producer: Charlie Curran

LoyalKaspar
Creative Directors: Beat Baudenbacher, Elliott Chaffer
Project Producer: Melissa August
Assoc Prod: Scott Lasko
3D Artists: Kyle Anderson, Adam Pearlman, Chris Foster
2D Artists: Ann Kruetzcamp, Chris Thompson, Dennis Cheung, Alexandra Stefanova
2D Animator: Sebastien Larreur Designers Daniel Dornemann, Emily Gobielle, Chris Thompson
Tech Support: Steve Renn

Union Editorial
Editor: Adam Jenkins
Exec Producer: Caryn MacLean

Related Links
http://nolapictures.com

www.loyalkaspar.com

www.unioneditorial.com

Popularity: 19% [?]

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When things between two companies get this good, it’s time to make it official. ROKKAN is pleased to announce it’s now Virgin America’s Web Agency of Record. ROKKAN, a full-service interactive agency, has been with Virgin America since the airline’s launch, and it’s been a breathtaking ride for both parties.

Virgin America revolutionized airline travel before its first flight even took off and with ROKKAN as their partner they are creating some of the company’s most successful and innovative work to date. A distinctive booking process makes finding just the right flight part of the experience travelers expect from Virgin America: efficient, and designed for function and pleasure.

A redesigned homepage will serve as a travel dashboard, putting personal and flight information right where travelers need it. Virgin America’s points-based loyalty program, Elevate, and its recently launched and evolving online community are all results of its strategic partnership with ROKKAN. Now that the two companies have sealed the deal with agency-of-record status, fliers can expect an exponentially greater experience, both in the air and online.

About ROKKAN
With offices in New York and San Francisco, full-service interactive agency ROKKAN is a solutions-driven company with the right blend of creativity, energy, and innovation. ROKKAN works directly with clients and also partners with advertising agencies, delivering a wide range of strategic, creative, and technical solutions. From interactive, rich-media marketing campaigns to enterprise technical applications, ROKKAN is equipped for all client needs. ROKKAN’s core expertise includes: Digital Business, Brand Activation, User Experience Design, Traffic Generation, and Technology. Recent campaigns and websites include projects for Virgin America, Adidas, Jose Cuervo, Rockstar Games, Time Warner, UGO Entertainment and 2K Games. Visit www.rokkan.com to learn more.

Related Links:
www.rokkan.com

www.virginamerica.com

Popularity: 17% [?]

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Best Animated Feature Film – ‘Wall-E’
The Oscar for 2009 Best Animated Feature Film went to the Disney/Pixar sci fi adventure Wall-E. The award was presented by Jennifer Aniston and the film beat Kung Fu Panda and Bolt in this category.

Wall-E is a love story set in the 29th Century and tells the tale of a wide-eyed robot that lives a lonely existence on planet earth with only a cockroach for company. One day Wall-E meets EVE, a highly advanced search robot, whom he follows into the deepest reaches of space thus changing his life and the future of the earth forever.

“I make more money doing animation than doing live action … each year I do one DreamWorks project, and then I take all the money to the Oscars and bet it on Pixar.”
Jack Black

WALL-E CREDITS
Directed by: Andrew Stanton
Produced by: Jim Morris, Lindsey Collins (co-producer) & John Lasseter (executive producer)
Written by: Andrew Stanton, Jim Reardon (screenplay) & Pete Docter (story credit)
Music by: Thomas Newman & Peter Gabriel
Editing by: Stephen Schaffer
Studio: Pixar Animation Studios
Distributed by: Walt Disney Pictures

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Best Visual Effects – ‘The Curious Case of Benjamin Button’
…. and the 2009 Oscar for Best Visual Effects went to ‘The Curious Case of Benjamin Button’ in a group that also included The Dark Knight and Iron Man.

“I was born under unusual circumstances” …… And so begins “The Curious Case of Benjamin Button”, adapted from the 1920’s story by F. Scott Fitzgerald about a man who is born in his eighties and ages backwards. A man, like any of us, unable to stop time.

The film begins in 2005: an elderly lady on her deathbed tells her daughter the story of a blind clockmaker named Gateau, who was once commissioned to make a majestic clock for the main train station in the city of New Orleans.

Whilst working on the clock, Gateau received the terrible news that his son had died fighting in World War I. In a desperate hope that the clock could help bring back those who had died in the war, Gateau continued work on his clock, and intentionally designed it to run backward.

The film required extensive post production work to create the visual effects for the metamorphosis of the character of Benjamin Button from old man to infant. The director used a camera system called Contour developed by Steve Perlman to capture facial deformation data from live action performances.

CREDITS FOR THE CURIOUS CASE OF BENJAMIN BUTTON
Directed by : David Fincher
Produced by : Kathleen Kennedy, Frank Marshall, Ray Stark
Written by : Eric Roth
Music by : Alexandre Desplat
Cinematography: Claudio Miranda
Editing by : Kirk Baxter, Angus Wall

The full list of winners and details of all the nominees can be viewed at the official 2009 Oscars website www.oscars.org/awards.

Popularity: 23% [?]

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