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POST PRODUCTION

Post / FX /3D .. a few words from Golden Square

 POST PRODUCTION   UK    March 22, 2006 19:51 (Edited: March 22, 2006 08:51)
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A chat with Ewan MacLeod, the founder of one of London's leading post production facilities, Golden Square Post Production

(Now's a good time to remind everyone that NOTHING on bestads is paid for i.e. no advertorials. If it's on the site it's because we like it or it's interesting. Always happy to hear from the best people).


bestads:We get mainly creatives visiting bestads. Do you think they look on Post & 3D in particular as sexy ... or a bit like watching the grass grow?

Ewan MacLeod: Clients fall into many different camps with view on Post Production. From understanding the process and fully appreciating the skill of the individual artist (whether it be flame, fire or after effects) to just expecting it to be done, regardless of what is involved.. A very busy well known director asked me the other day if we can do titles which shows how disinterested people can be.

A handful of creatives understand the process and appreciate the talent of individual artists, but I think, the majority see it as the final, unavoidable stage before their commercial goes on air.

bestads: Where’s it all heading? I seems like FX programs are getting smarter & smaller. Will the agency TV departments end up doing all of the spectacular FX on their laptops at the airport lounge?

Ewan MacLeod: No, because it will always require experience and skill that few people posses. The technology is only a tool, if you don’t know how to use it, it’s useless.

bestads: It seems that you MUST have the latest burning device ... Flame, Inferno, Furnace, Volcano ... Or the right name ... Harry, Henry, Percy ... Is the equipment the focus or the people?

Ewan MacLeod: In order to compete with other facilities, we must have the latest software update whether its useful or not and it helps to speed up the process. Because everyone has the same kit/software, what separates the companies are the people. It is the service and skill of the producers and artists that make the difference.

bestads: Awards must be tricky. When you’ve done an absolutely BRILLIANT job, judges end up saying FX? What FX? I didn’t notice any FX.

Ewan MacLeod: That’s why bestads and other web sites/trade magazines to show and explain how things were done are so important to us so that we can go through how things were done. Six years ago the trend was to make effects in commercials as obvious and as in your face as possible, now if you can spot the effects, you haven’t done your job properly.

bestads: I’ve seen quite a few totally 3D car ads out of the USA recently. Is it just a trend or the way of the future? I can see how the clients would be happy ... “Can we see that shot from a different angle so we feature the headlights more?” ... No re-shoot.


Ewan MacLeod:Because of the advances in 3D, the creative briefs are becoming more imaginative, there are no limitations. Invariably it is more cost effective to build the car in 3D than it is to shoot the car live (if indeed in it even possible with the script). However where possible, we would always suggest that they shoot as much in camera.

bestads: Tell us a bit about your Nike “Chain Reaction” advert. What was Golden Square’s role in this?
To view "Chain Reaction" click ....
HERE

Ewan MacLeod: Having built up a relationship with the directing Duo Danny and Ezra from Hanrahan on previous projects, we know how they work and they understand the 3D process being ex animators themselves. On a project of this scale it is essential that there is continuous dialogue and trust between the client and the animators as it is truly a team effort.

bestads: And finally ... Any tips for creatives when they’re writing scripts that may have 3D work?


Ewan MacLeod:Come and talk to us at the earliest possible opportunity!

Things that were impractical and too costly/time consuming may now be feasible with the advances in technology. (eg 3D fluid dynamics). If we are involved at the development stage, we can advise which route to go that is realistic with the time and budget of the project. With our regular clients we will give talks on the latest developments so they are aware of what is feasible or not.

Topix & O&M Toronto link animation & timex watches

 POST PRODUCTION   EUROPE    November 23, 2005 21:12 (Edited: November 23, 2005 10:12)
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Indiglo "Fresh Color"
Inspired by the original campaign for the initial launch of the Indiglo watch, the blue dot regenerates and gives life to seven new colours in an animated spot that integrates technique with music in a fresh, unique way.

Agency: O&M Toronto
Executive Creative Director: Janet Kestin/ Nancy Vonk
Art Director: Andrew Hart
Copywriter: Adam Bailey
Agency Producer: Margaret John
Director: Matt Greenwood
Animation & post: Topix
Other Credits: Marco Polsinelli, Sr. Inferno Artist, Topix
Cheyenne Bloomfield, Producer, Topix
Sylvain Taillon, Ex Producer, Topix

Locations ... a thing of the past?

 POST PRODUCTION   EUROPE    November 09, 2005 21:09 (Edited: November 09, 2005 10:09)
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Sway & Maclaren McCann/Toronto create artificial driving environments

No location, no traditional shoot ... no car even.

From the PR release:
“In an advertising marketplace as fiercely competitive as this one, clients are demanding nothing short of product-focused/product-hero advertising,” said agency Creative Director Jon Freir. After developing a sound strategy, the search was on for a shooter. The brief was to bring to life the feeling inspired by each of the new Pontiac models. “(fellow Creative Director) Sean Davison and I talked to a lot of people, a lot of serious people with good ideas,” said Freir. “But every conversation ended with ‘Well, it would be nice to go CGI, but then you’re looking at big drop off in realism and who really wants to see a CGI car?’” Enter SWAY... “Not only could they deliver photo-realistic quality vehicles but they could also pull off true-to-nature driving characteristics on everything from cage roll to braking.”

Convincing FX in the new spot for Lemsip

 POST PRODUCTION   CANADA    November 02, 2005 22:09 (Edited: November 02, 2005 11:09)
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Love & Glassworks bring the Lemsip pack to life.

'The three commercials feature a cute animated Lemsip box, literally administering relief to its ailing cold-sufferer.The clever little chap even tracks down his charge’s car keys, administers a head massage and flags a cab. How very handy!'

Title: LITTLE HELPER
Advertising Agency: CHEETHAM BELL JWT
Agency Creatives: PAUL BENNETT & LISA SIMPSON
Agency Producer: ANNELISE SMITH
Production Co: LOVE
Director: BEN DAWKINS
Post: GLASSWORKS

Framestore CFC news

 POST PRODUCTION   CANADA    October 25, 2005 23:00 (Edited: October 25, 2005 13:00)
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It's with great pleasure that Framestore CFC can announce that one of our Inferno Artists, Ben Cronin, has been chosen as the winner in the 'Special Effects/Post-Production' category in Creative Review's 'Creative Futures' awards scheme.

pics: frames from Ben's work for Renault Espace, Chemical Brothers & Audi






RUSHES CREATE A CINEMATIC 3D CITY FOR ACTION MAN

 POST PRODUCTION   CANADA    October 10, 2005 22:48 (Edited: October 11, 2005 02:48)
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RUSHES CREATE A CINEMATIC 3D CITY FOR ACTION MAN


Rushes have recently completed a fast paced, colourful commercial for Action Man, made exclusively for the cinema.

The commercial is seen from the perspective of our dare devil hero as he drives and flies through the exciting fictional streets of Landmark city. On his journey, Action Man is almost thwarted by his arch enemy and accompanying evil henchmen.

Title: ‘Debrief’
Agency: DDB London
Agency Producer: Lucy Westmore
Director Kent Shively
Post Facility: Rushes
3D: Angela Noble, Craig Travis, Nathan Walster, Stafford Lawrence, Charles Beglan
Graphic Design: Matt Lawrenc
Fire: Paul Wratten
Rushes Producer: Danny Jones


(the now corporation) expands adds two

 POST PRODUCTION   EUROPE    September 27, 2005 03:16 (Edited: September 27, 2005 07:16)
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(NYC) Travis Kopach has joined (the now corporation) as Editor. Kopach, just completed his first gig at (the now corporation) A :30 Verizon Wireless spot for McCann Erickson via directing team Guard Brothers of Villians.

Kopach, who also directs, recently directed two music video clips airing on MTV Europe and the US. "Isabelle" by Koufax - for Doghouse Records was just completed last week.
The clips were co-produced by (the now corporation) and Prod. co., Fashion Bleeds.

Jeannette Prostowich joins (the now corporation) as Editor. She previously worked as cutting assistant for Nelson Leonard and Owen Plotkin of (the now corporation). Jeannette recently cut two spots for MTV2 and four for MTV with Reginald Pike director Lena Beug. She recently cut a :30 Tylenol spot for Deutsch directed by Barbara Kopple of Nonfiction Spots.








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