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Beast recently completed work on two spots, ‘Fantasy’ and the still-to-air ‘Allergy,’ for online dating site Zoosk. The :30 ‘Fantasy’ features Zoosk user Tiffany daydreaming about a perfect romantic date while perusing the Zoosk site with her girlfriends. The fantasy begins reliably enough in a candlelit boudoir but quickly turns into parody with several hilarious blunders, including bumped heads, broken lamps and a strained back. Tiffany realizes that she finds reality much more appealing, and the ad closes with the Zoosk tag and logo. ‘Allergy,’ is a side-splitting take on blind dates, where a young man suffers a severe allergic reaction when he collects his date for the night out.

Beast New York editor Jim Ulbrich cut the Zoosk spots on an Avid system, working closely with the creative team to realize the client vision. ‘The client and agency were great to work with, and it always fun to be involved in a company initial foray into traditional marketing,’ Ulbrich commented. ‘As far as comedy goes, the two spots couldn’st be more different. The first spot, ?‚àö√ë‚àö‚â§Fantasy,’ is physical comedy, while ?‚àö√ë‚àö‚â§Allergy’s is more about story and punch line.’

‘Because of the demo and end graphics, which were a crucial part of the Zoosk message, we only had about 20 seconds in which to tell the story,’ Ulbrich continued. ‘You keep asking yourself, ?‚àö√ë‚àö‚â§What footage pushes the story along as quickly as possible?’s With ?‚àö√ë‚àö‚â§Fantasy,’s it was easier to pull together. I made sure that the physical aspect of the story was as painful as possible and that really drove the spot.”

“With ?‚àö√ë‚àö‚â§Allergy,’s it was a bit more difficult. While there was a ton of laugh-out-loud material to work with, I was at the mercy of animals hitting their marks and keeping their continuity. The great footage that did not make the cut will have to wait for the gag reel. In the end, everyone was really happy with how the spots turned out.’

Beast is one of the country top editorial facilities for commercials, music videos and web virals. With offices in Santa Monica, New York, Austin, Detroit, Chicago and San Francisco, Beast serves a global clientele with an unparalleled roster of established, award-winning editors as well as up-and-coming talent. Since opening its doors in 2006, Beast has built an impressive and varied body of work for such clients as Harpo Films, Nike, AT&T, Reebok, Southwest Airlines, GM, Toyota, BMW, Mercedes, USAF, Linkin Park and Black Eyed Peas.

CREDITS
Client: Zoosk
Titles: ‘Allergy’ :30 ‘Fantasy’ :30
Agency: Ogilvy Atlanta
Creative Director: Dave Galligos
Creative Director: John Spalding
Associate Creative Director: John Teter
Management Supervisor: Kristin Bitter
Account Director: Katie Thrasher
Agency Producer: Lindsey Fischbach

Production Company: Humble
Director: Jeff Bitsack
Executive Producer/Owner: Eric Berkowitz
West Coast EP: Phillip Detchmendy
Director of Marketing: Dawn Goodburn
Head of Production: Persis Koch
Staff Producer: Kristin Tomborello
Producer: Kayellen Moran

Editorial Company: Beast/NY
Editor: Jim Ulbrich
Executive Producer: Elizabeth Krajewski
Assistant Editor: Jai Shukla

Telecine: Nice Shoes
Artist: Lenny Mastrandrea

Online/Cleanup: Gryphyn
Artist: Scott Bravo
Producer: Julia Williams

Audio: Sonic Union
Audio Engineer: Michael Marinelli

Graphics: Favorite Color
Executive Producer: Dave Dimmick,
Head of production: Carson Hood,
Head of CG: Bill Bourbeau

RELATED LINKS
www.beast.tv
zoosk.com

Popularity: 2% [?]

VFXTalk are happy to announce that next up in the VFXTalk Master Interviews is world renowned post production and visual effects facility The Moving Picture Company (MPC). This month you will have the opportunity to quiz overall VFX Supervisor Richard Stammer on MPC work on the Ridley Scott epic Robin Hood. Stammers worked closely with Universal VFX Producer Allen Maris to achieve a wide range of visual effects including CG armies, CG boats, digital environments and CG arrows.

The Moving Picture Company (MPC)
MPCleads the world in post production and visual effects for the Feature Film, Advertising, Digital and Television industries. Based in Soho – London, Santa Monica – CA and Yale town – Vancouver, MPC works on some of the most exciting commercials and feature films produced in the world today.

Recent and memorable MPC creative work has included spots and virals such as Nick Gordon Cadbury; ?‚àö√ë‚àö‚â§Spots V Stripes,’s Michael Gracey Evian; ?‚àö√ë‚àö‚â§Skating Babies,’s Audi, ?‚àö√ë‚àö‚â§Beauty and the Beast’s for Sam Brown and the John Lewis ?‚àö√ë‚àö‚â§Always a Woman’s for Dougal Wilson. Feature film work that MPC is proud to have worked on in past months includes; ?‚àö√ë‚àö‚â§Prince of Persia,’s (Mike Newell) ?‚àö√ë‚àö‚â§Robin Hood’s (Ridley Scott) and ?‚àö√ë‚àö‚â§Clash of the Titans,’s (Louis Leterrier) and they are currently revisiting earlier work on the next outings for both the Narnia and Harry Potter franchise.

Robin Hood
In 13th century England, Robin and his band of marauders confront corruption in a local village and lead an uprising against the crown that will forever alter the balance of world power. And whether thief or hero, one man from humble beginnings will become an eternal symbol of freedom for his people. (Universal Pictures, 2010)

Academy Award winner Russell Crowe and visionary Director Ridley Scott reunite for the untold story of the man behind the legend. In an age of oppression and shameless tyranny, an outlaw becomes the unlikely hero that saves a nation and inspires generations to fight for freedom. Scott Robin Hood is an adventurous tale of epic proportions, portraying the story of the man behind the legend that is Robin Hood?Ķ

MPC Work on Robin Hood
MPC completed 570 shots for Ridley Scott Robin Hood, creating a wide range of visual effects including CG armies, CG boats, digital environments and CG arrows. MPC Richard Stammers,the overall VFX Supervisor for the show, worked closely with Universal VFX Producer Allen Maris to achieve the finished results.

One of MPC main challenges was to create the invading French Armada and the ensuing battle with the English army. A CG fleet of 200 ships and 6000 soldiers were added to the 8 practical boats and 500 extras used in principal photography. MPC used Alice, its proprietary crowd generation software to simulate the rowing and disembarkation of French soldiers and horses, with all water interactions being generated using Flowline software. The defending English archers and cavalry where also replicated with CG Alice generated clips and animated digital doubles. MPC relied predominately on its existing Motion Capture library for much of Robin Hood, but a special mocap shoot was organised to gather additional motion clips of rowing, disembarking troops and horses.

MPC digital environment work was centred on two main locations; London and the beach setting for the French invasion and final battle. A combination of matte painting and CG projections were used to recreate the medieval city, which featured the Tower of London and included the original St. Paul Cathedral and old London Bridge under construction, in the city beyond. The production football field sized set provided the starting point for MPC to extend vertically and laterally, and in post production alternate digital extensions were also created to reuse the set three times as different castle locations. Each extension was a montage of existing castles chosen by Ridley Scott and production designer Arthur Max. For the beach environment, MPC had to create cliffs that surround the location, and were added to 75 shots.

MPC was also responsible for creating the arrows for various sequences on the film. Practical blunt arrows were used in production where ever possible, but most shots presented safety issues so digital arrows were animated instead. Arrows were added to over 200 shots, with 90% of these being handled by the compositing team using Shake and Nuke. MPC developed proprietary 2D and 3D arrow animation tools to assist with the volume of arrows required.

Speak to Richard Stammers at MPC!
If you would like the chance to question MPC about their work on Robin Hood then head over to VFXTalk and post your questions in the forum. Learn the thoughts behind the process, the difficulties that were encountered, how shots were realised; and find out which finished elements they are the most proud of.

Your questions will be sent over to MPC Visual Effects Supervisor Richard Stammers.

The MPC Robin Hood ?‚àö√ë‚àö‚â§call for questions’s will be open for two weeks on VFXTalk, and will be closed at the end of working play on 12 October 2010. Follow this link to post your questions to MPC.

Related Links:
www.robinhoodthemovie.com
www.moving-picture.com
MPC Press release
MPC Podcast
MPC Breakdown

Popularity: 5% [?]

The riveting, destructive and very sexy video for Skunk Anansie’s latest release ‘Ugly Boy’ was directed by Paul Street (Streetlight Films) with snappy editing by James Rose at Cut+Run.

This edgy music video opens with alluring visuals of Skunk Anansie’s lead singer Skin as she navigates her way to her vintage BMW for a spin in a derelict multi story car park. Skin may have a penchant for rebellious driving and love affairs with ugly boys in this video, but one can’t help but become mesmerized by the cinematic effect of making the grimy glamorous.

Here, Skin drives along while her boyfriend’s sleazy infidelities are played out on the backseat. It’s a fetish for the obscure combined with the violent temperament of the editorial tone that makes this video unique and compelling.

(Click here to view ‘Ugly’ Boy music video)

Directed by Paul Street (Streetlight Films) it is a rare diversion into promos from his usual commercial work: “I’ve been a fan of the bands work for a long time,” says Street. ” I connected to the Ugly Boy track immediately – the idea and images for the video came right out of the lyrics. – very quickly and subconsciously.”

Adrian Harrison, Executive Producer of Streetlight says: “I’m absolutely thrilled with Paul’s Skunk Anansie video as it was a challenge to pull off but a big credit to all who were involved in the making of it.”

CREDITS
Record Label: v2 Benelux
Commissioner: Paul McKee
Director: Paul Street (Streetlight Films)
Producers: Julia Guignabel & Adam Frisch
Editor: James Rose, Cut + Run

RELATED LINKS
www.cutandrun.tv
www.skunkanansie.net

Popularity: 2% [?]

In Universal Pictures’ Devil, a supernatural thriller with the signature touch of producer M. Night Shyamalan, five people are trapped in an elevator and one of them is the Devil. Another unseen force in the film is the invisible effects by award-winning Zoic Studios.

Zoic Studios previously worked with Director John Erick Dowdle and EP Drew Dowdle on their film Quarantine. For Devil, Zoic Studios produced 100 shots including set extensions, matte paintings, CG buildings and atmospheric and stunt based effects for locations interiors. Zoic’s seamless work on Devil was a supporting but essential role to the heart-stopping narrative.

“Suspension of disbelief is at the very heart of the work we do via invisible effects,” says Zoic Studios Producer Raoul Bolognini. “When done perfectly, our work supports and enhances the overall experience.”

Zoic Studios’s contribution to the film is featured on the company’s blog: www.idesignyoureyes.com.

(Click here to view trailer for Devil)

About Zoic Studios:
Zoic is an award-winning Digital Studio involved in producing high-end visual effects and animation for feature films, episodic television, commercials, videogames, and interactive media.

Spanning from visual effects, to live action production and specialty shooting, Zoic Studios’ imprint can be seen on “V”, “Human Target,” “Fringe”, and “True Blood”, spots for ESPN, Killzone 2, Mountain Dew, NASCAR, and Tour de France, as well as numerous gaming projects for EA, Activision, Pandemic and Sony. Zoic Studios has offices in Los Angeles and Vancouver.

CAST
Chris Messina as Detective Bowden
Geoffrey Arend as Vince
Logan Marshall-Green as Tony
Bojana Novakovic as Sarah
Jenny O’Hara as Jane
Bokeem Woodbine as Ben
Jacob Vargas as Ramirez

CREDITS
Directed by: John Erick Dowdle
Produced by: John Erick Dowdle, Drew Dowdle, M. Night Shyamalan, Sam Mercer
Screenplay by: Brian Nelson
Story by: M. Night Shyamalan
Cinematography by: Tak Fujimoto
Editing by: Elliot Greenberg
Distributed by: Universal Pictures

RELATED LINKS
www.zoicstudios.com
www.idesignyoureyes.com
www.universalpictures.com/devil/

Popularity: 3% [?]

Salt, the hotly anticipated Columbia Pictures spy thriller starring Angelina Jolie is on track to be one of this summer’s biggest blockbusters. Film director Phillip Noyce, turned to Framestore, the award-winning VFX and animation company, to create the feature film’s stunning and realistic visual effects.

(Click here to view trailer)

“The stunt work in the film is fantastic, and in keeping with Phillip Noyce’s brief for realism, our VFX team worked heavily with the stunt crews to achieve key shots that would blend seamlessly within the stunt sequences,” said VFX Supervisor Ivan Moran.

Framestore NY was the lead VFX house on Salt and was responsible for key creative direction, technical CG and compositing. This is the first feature film to come out of the recently established film division in the company’s New York offices.

“This was a great film to come out of our new film division at Framestore NY, building on the Framestore legacy for VFX,” said Executive Producer VFX Sarah Dowland. “We knew how key the VFX work would be to the success of the film. There were many scenes and stunts that could not have been achieved without VFX involvement, and if those VFX moments were not realistic, the viewer would not believe the story. The demand for realism and transparency from Phillip Noyce was a challenge, but we were confident we would meet his expectations and we did.”

Salt focuses on the thrilling hunt to uncover the truth behind the identity of Evelyn Salt (Jolie), and that hunt takes the moviegoer on a wild ride. The film features countless stunts, explosions and car chases, each propelling the narrative forward and providing Salt with a number of narrow escapes.

Framestore worked with the Director and DP to carefully map out what could be captured in camera and then partnered with the film’s crew to ensure that the suspense never lets up due to a lack of realism. As the lead vendor on the movie, Framestore worked on over 300 shots.

“The real challenge was to realistically recreate objects and effects that people see every day,” said CG supervisor Theo Jones. “People are so familiar with some of the objects and experiences that we were building in CG and animation, so we needed them to be spot on or people would immediately sense that something was off and the believability of the scene would be in jeopardy.”

Framestore created a variety of CG crowd extensions, vehicles and set extensions to achieve the scale that the Director was after. Framestore’s VFX and animation work was vital to several key moments in the film, assisting the storytelling as well as making the action more compelling. Framestore even built, cracked and eventually disintegrated the floor of St. Patrick’s Cathedral using advanced CG and VFX techniques.

Framestore also oversaw one of the most impressive stunts in the film, when Salt drives off the 59th Street Bridge. A rigged SUV was actually pulled off one of the bridge exit ramps, smashing spectacularly into the taxi’s below.

“Multiple cameras were placed to film the stunt,” said Moran, “With perhaps the most ambitious being a camera rigged inside the vehicle itself, to be used as the backplate for a composite shot of Angelina seen from inside the vehicle on impact.”

To achieve this, the impact camera was later matched on a bluescreen stage, with vehicle seats and rigged airbags built for Angelina to perform against. Framestore was able to quickly comp Angelina’s takes on set to provide invaluable feedback from the director as to how the performance was matching the inside footage of the real SUV crash. For the final shots, CG dust and debris were added to blend the plates together and combined with the surrounding stunt work, the result is a stunning sequence of Salt’s escape.

Columbia pictures presents, in association with
Di Bonaventura Pictures, and Sony Pictures Entertainment

DIRECTOR Phillip Noyce
PRODUCERS Lorenzo di Bonaventura, Sunil Perkash

VFX Framestore

RELATED LINKS
www.framestore-cfc.com
www.sonypictures.com/movies/salt

Popularity: 3% [?]

Marking another creative highpoint for the three-year old design studio, LAUNDRY!, led by Creative Directors P.J. Richardson and Anthony Liu, have been honored with an MTV Video Music Award nomination in the category of Special Effects for their work on Green Day’s ’21st Century Breakdown’. Hosted by Chelsea Handler, the MTV Video Music Awards airs live this Sunday, September 12 at 9 pm EST. Also nominated in the Special Effects category are music videos from Lady Gaga, Eminem, Muse and Dan Black.

(Click here to view 21st Century Breakdown)

?‚àö√ë‚àö‚⧒sThis is a great surprise for us, we’sre excited about it and a little bit humbled,’s's Richardson says. ‘This was an incredible challenge for us both creatively and execution-wise, and we’sre relieved to know that MTV was paying attention.’s's

Director Marc Webb, perhaps best known for his feature film ’500 Days of Summer’ (2009) and the upcoming Spiderman reboot, came to LAUNDRY! looking to bring to life the iconic look he envisioned, which married the punk influenced stencil art seen Green Day ?‚àö√ë‚àö‚⧒s21st Century breakdown’s's album cover, with the decidedly political graffiti style of English street artist Banksy.

?‚àö√ë‚àö‚⧒sMarc came to us with a performance driven idea comprised of shooting the band against a greenscreen and on a Los Angeles rooftop. Marc had some cool storyboards and specific ideas about how the performance and typography of the song lyrics needed to sync dramatically,’ Liu notes. ?‚àö√ë‚àö‚â§Beyond that a lot of the visuals were in our hands.’s's

To create the look LAUNDRY! integrated Webb performance footage, and directed the second unit. They changed the footage to black and white, added an impactful stencil effect, which was then composited together with their own gritty live action footage shot of street life and urban decay. The footage was enhanced further in Adobe AfterEffects where textures, environments and sweeping camera moves were added to create the story.

?‚àö√ë‚àö‚⧒sThe sheer volume of footage we had to animate in only two weeks was by far the most challenging aspect for us,’ Richardson says. ?‚àö√ë‚àö‚⧒sLike most design studios we’sre used to working in :30 and :60 intervals, this was four plus minutes of solid 2D animation. It was a challenge for our studio, and this VMA nod validates our effort.’s's

In other LAUNDRY! news, the company recently completed work on M.I.A. ?‚àö√ë‚àö‚⧒sXXXO’s's music video, as well as new work for HP, Nabisco, Chevy and Levi.

About LAUNDRY!
LAUNDRY! is a multimedia design studio based in Los Angeles led creatively by P.J. Richardson and Anthony Liu. Since launching the company in 2006 the company earned a reputation for its wide array of future forward design techniques. For more information contact Executive Producer Michael Bennett at vt.tamyrdnualnull@leahcim, 323-933-2800 .The company is represented for advertising on the West Coast by Michael Di Girolamo of Station Film; Sue Rosen in the Midwest; and by Miss Smith on the East Coast. The Ashy Agency represents them for broadcast.

CREDITS
Client: Warner Bros Records
Project: Green Day ?‚àö√ë‚àö‚⧒s21st Century Breakdown’s's

Production: DNA, Hollywood
Director: Marc Webb
Producer: Michael Angelos

Design, Animation & Editorial: LAUNDRY!, Los Angeles
Creative Directors: P.J. Richardson, Anthony, Liu
Executive Producer: Michael Bennett

RELATED LINKS
www.laundrymat.tv
www.mtv.com/ontv/vma/2010/
www.mtv.com/ontv/vma/2010/best-special-effects/

Popularity: 3% [?]

MGMT have premiered the music video for ‘Congratulations’, the title-track off the band latest album which was released earlier this year. The beautiful, strange and haunting promo was directed by the renowned eccentric filmmaker Tom Kuntz and edited by Cut + Run’s Steve Gandolfi.

(click here to view music video)

MGMT are an American psychedelic pop group formed by Ben Goldwasser and Andrew VanWyngarden in 2005. “Congratulations” is the groups second album, recorded in Malibu in the summer of 2009, and was produced by Pete Kember aka Sonic Boom.

Tom Kuntz is known for his unique television commercials and music videos, which often incorporate colorful settings, time-lapse photography or wildly eccentric humans.

Kuntz began his directing career at MTV where he and former creative partner Mike Maguire created many noteworthy commercials promoting the channel, including the famous spots for the MTV music awards that starred the actor Ben Stiller.

Tom Kuntz has enjoyed multiple nominations for the honor of ?‚àö√ë‚àö‚â§Best Commercial Director of the Year’s by the Directors Guild of America (DGA). In August 2010, Kuntz’s Old Spice “The Man Your Man Could Smell Like” spot won the Emmy for “Commercial of the Year.”

Cut+Run is a boutique editorial company with locations in Los Angeles, New York, and London. The award-winning shop features a diverse roster of talented editors who contribute their vision and skill to commercials, film and music videos. With an emphasis on client service, Cut+Run operates under a ‘borderless’ philosophy making its editors available to work anywhere. Editors can also cut on set wherever projects are shot.

CREDITS
Production Company: MJZ
Director: Tom Kuntz
Executive Producer: Jeff Scruton
Executive Producer: David Zander
Producer: Scott Kaplan
Director of Photography: Wyatt Troll

Creature Effects: Legacy Effects
Creature Design: Sonny Gerasimowicz

Editorial Company: Cut + Run
EP: Michelle Burke
Editor: Steve Gandolfi

Telecine: Stefan Sonnenfeld @ Co. 3

VFX: Method
VFX Supervisor: Janelle Croshaw
Senior Executive Producer: Gabby Gourrier Executive Producer: Helen Hughes Digital Production Manager: Jennie Burnett Digital Production Manager: Tram Le Flame Lead: Noah Caddis Nuke Lead: Chris Bankoff Technical Director: Jesse Vander Does
CG: Todd Herman
VFX Producers: Sascha Flick & Graham Dunglinson Temple Design: Josh Slater

RELATED LINKS
www.whoismgmt.com
www.cutandrun.tv

Popularity: 2% [?]

The Killers’s frontman, Brandon Flowers, has stepped out on his own for a new album titled ?‚àö√ë‚àö‚â§Flamingo’s. Brandon turned to Director Nash Edgerton and The Mill LA for the video, starring Charlize Theron to accompany his track ‘Crossfire’.

A former stuntman, Nash was very in tune with the environment and used his background skills to create the filmic piece. Unlike most directors’s treatments, Nash produced an edited version of the video starring friends to use in pre-production. He even had one of his bearded friends starring as Charlize sexy character.

The video puts Charlize in the role of savior, fighting sword-wielding Ninjas. The main effects application was rig removal from all the various production stunts. Lead Flame Artist Andy Bate worked to remove heads, animate flying ninja star weapons, detonate and rebuild windows and paint flames, amongst other effects.

(Click here to view the video)

Andy was very pleased with the result, adding ‘It was a fantastic job. Nash is a really dedicated director and his stuntman background make the experience an incredible collaboration.’

The Mill is a world-leading visual effects company with bases in London and New York and now Los Angeles. The Mill has worked on some of the most memorable visual effects projects in the world, including Ridley Scott ?‚àö√ë‚àö‚â§Gladiator’s for which it gained a VFX Oscar, and has won more awards for visual effects than any other facility in Europe.

CREDITS
Artist: Brandon Flowers
Track: Crossfire
Production Company: The Directors Bureau
Record Company: Island Def Jam Music Group
Director: Nash Edgerton
Exec Producer: Lana Kim
Producer: Lawrence Lewis/Anke Thommen
Director of Photography: Morgan Susser
Editor: Nash Edgerton
Editorial Assistant: Sitha San
Post-Production: The Mill Los Angeles
Producer: Lee Pavey
Lead Flame Artist: Andy Bate

RELATED LINKS
www.the-mill.com

SOURCE
www.the-mill.com

Popularity: 3% [?]

The third challenge in the fourth series of the VFXTalk Challenges is now live! The new task will test the crowd duplication skills of the VFXTalk community. So read on! and then follow the link below to the full challenge details in the VFX Challenge forum.

Film viewers will be transported to the very edge of their seats if engaged by an exciting crowd scene during a movie. A crowd can be compelling and will create the spine tingling atmosphere of epic cinematic moments.

In a ‘Mexican wave’ towards memorable scenes from the likes of blockbusters Gladiator and Invictus; VFXChallenge VFX403 will require you to test your crowd duplication skills. In the third challenge of the series VFXTalk wants you to ‘rent a crowd’ and ensure that excited people are jumping in their seats.

Your crowd can be watching a sporting contest, rock concert, alien gladiatorial battle or a historical joust if you like; but the focus of this challenge is on the crowd and not on the event within the arena. You have free reign to show us as much or as little of the stadium and performance as you wish.

You can introduce 2D or 3D elements, modify the video footage we supply and use your matte painting talent to bring this all to life. Use your crowd duplication skills to create a seamless believable audience and bring on the stadium atmosphere!

Follow this link to ‘VFX403 – Create A Crowd and Make An Epic’ for all the details! Submissions start today!

RELATED LINKS
www.vfxtalk.com
VFXChallenge VFX403

Popularity: 2% [?]

World-class animation studio Nathan Love continues its successful collaboration with advertising agency 22squared, bringing two new animated broadcast spots to life for Baskin-Robbins’ nationwide summer advertising campaign. For August, the campaign welcomes two new characters: Barry Baaa, a long-faced sheep that loves blowing bubbles with Baskin-Robbins’ August Flavor of the Month, Pink Bubblegum ice cream, and Olive Ostrich, a playful bird who’s ecstatic about Baskin-Robbins’ birthday cakes.

For each character, Nathan Love’s art department created genuinely unique looks and personalities, and the animators added the life and soul, creating adorably personable creatures. Barry Baaa debuted widely on U.S. television and cable media outlets on August 3; on August 8, it was declared the top ad for all demographics for the first week of August by Ace Metrix(TM), the industry standard in television advertising analytics.

“This campaign has been an amazing validation for our studio, showcasing our ability to turn highly creative projects around quickly, and proving that we are ready for anything,” said Joe Burrascano, Nathan Love’s owner and creative director. “Our goal of preparing the studio for feature films and creating original content is becoming more of a reality every day. We’re extremely grateful to 22squared and Baskin-Robbins for involving us in this high-profile campaign. The spots have been attracting lots of positive attention, and we can’t wait to roll this success into our next project.”

The crew at Nathan Love designed and directed the entire campaign in SD and 1080 HD. Their tools for the spots included a combination of Adobe Creative Suite and Autodesk Maya for the animation, and The Foundry’s Nuke compositing software for finishing. Each campaign spot also features Drew Skinner’s original music and sound designs.

Click here to watch all the Baskin-Robbins characters.

“These spots were created with Baskin-Robbins’ primary mission ?‚àö√ë‚àö¬® to provide a full range of quality ice cream and cake products in a fun, inviting environment ?‚àö√ë‚àö¬® in mind,” added John Stapleton, 22squared’s chief creative director. “With this team of animated characters, we were able to communicate Baskin-Robbins’ mission in a way as innovative and enthusiastic as their flavor catalog and fans.”

About Nathan Love
Break out the crayons and beer, because Nathan Love is ready to play! This world-class animation studio is known for creating memorable characters, detailed worlds and engaging narratives, making it a party and inviting your whole crew. Driven by a passion for storytelling, their creative, technical and production capabilities are constantly evolving.

Equally at home creating sensational 2D and 3D animation, the studio’s talents span all aspects of project creation and production. They are creators of commercial campaigns, original films, super-fun web content, video game projects, merchandise and more. Besides their extraordinary craftsmanship Nathan Love is also fun and inviting to work with, enjoying daily collaborations with leading creatives, live-action and CGI directors, sound designers, composers, web developers and other artists.

About 22squared
We don’t want to talk to you. It’s not that we have anything against you. In fact, you seem quite delightful. It’s just, we don’t think talking to people is a particularly effective form of communication. Instead, we like to talk with people. See what they’re interested in. And then have a two-way conversation. We do the same with brands. We find what people are interested in, and then help insert our brands into the conversation. The result is work that gets people talking. And makes brands grow. We call it the Advocacy Model, and we apply it across all mediums, for clients as diverse as Southeast Toyota Distributors, Publix Super Markets, Baskin-Robbins, Florida’s Natural Grower, CBSSports.com, Shoe Carnival, Lincoln Financial Group. If you’d like people to start talking about your brand, look us up at www.22squared.com. We’re looking forward to the conversation.

RELATED LINKS
www.NathanLove.com
www.22squared.com

Popularity: 4% [?]