Acclaimed spot and features director Steve Beck has been hired by Rhythm + Hues Studios to bolster its commercial group.
This follows R+H (
www.rhythm.com ) bringing on Paul Babb as its new live action exec producer, as the studio has refocused its energies to create what it calls, “The Complete Digital Studio” – a full service shop for both advertising agencies and production companies.
The multiple Clio and AICP award winner, previously with Believe Media, is known for his high profile commercial work featuring his signature blend of compelling and highly visual storytelling.
Beck’s addition will no doubt bolster R+H’s already impressive creative lineup, which includes live-action and effects guru, director Clark Anderson, and the stop-motion specialist known for his Chevron and Serta work, director Michael Wright.
Enthusiastic about the renovated Rhythm + Hues Commercial Studios, Beck said, “This is a tremendous opportunity to not only regain both quality and control for the work we do, but redefine the way we, as artists work as a whole,” says Beck. “Not only are we inherently part of the process again, but with The Studio behind us, with all the tools we need to create amazing film, we never need to go out of house. Do you realize what a relief that is?”
Having Beck on board not only rounds out Rhythm + Hues’ live-action force, but his addition further strengthens the studio’s complete production arsenal. Rhythm + Hues Commercial Studios offers a full range of award-winning visual effects, computer generated animation and complete post-production led by animation/vfx exec producer Amy Hassler.
A 12-time Clio award winner, Beck has been a featured commercial director for Super Bowl spots several years running. The advertising community and, more recently, feature film studios have embraced his diverse talents. His commercial projects include Powerade, Gatorade, Chevrolet, Volkswagen, McDonald’s, Pontiac and the multi-award winning, multi-year running First Union campaign.”
Beck shares Babb’s concept for an ideal production model. Commenting on Beck, Babb said, “Like many in the industry, he was frustrated by the fractured production process and felt the work wasn’t always nurtured as it should be. He saw projects doled out to several contractors: the production company, the editorial house, the effects house, the post facility, etc. – each with their own agenda – and often felt the art of commercial filmmaking had suffered. And, like Steve, Rhythm + Hues feels it’s time to address that.”
“The Studios’ new charter speaks directly to this,” added Beck. “Not only are the directors here for the agencies’ benefit, but we’re also here for other directors. Paul, Amy and John Hughes (Rhythm + Hues’ founder) have devised a system that shakes tradition and emphasizes the work, not the incentives.
“And nobody suffers from it! It’s actually more of a crafts guild mentality, a true working studio. So everybody wins,” Beck explained. “At the end of the day, I’d love to see a David Fincher project in here. A Daniel Kleinman film. A Spike Jonze piece to join the growing list of our existing top director clients like Hank Perlman who brought in his Sony Dreams project; Jake Scott, Noam Murro and Sam Raimi who worked on Cingular Spiderman with CG director John-Mark Austin. Why? Because they’re brilliant filmmakers. The industry needs their work to be as good as it can, because when their work looks good it benefits us all. And when these directors can’t be here, this studio wants them to know that everyone here will support their vision. I know that sounds like heresy, but hey, it’s time. Rhythm + Hues Commercial Studios is about this change, this new attitude. It’s truly exciting.”
Hassler sees it all as a terrific and rare opportunity for the industry. “We believe Rhythm + Hues Commercial Studios is unique in the U.S. at this time,” she said. “We’re one of only a few houses that can do it all – live action, CG, effects, editorial and post. And we’re able to harness the capabilities and R&D resources that come from developing effects and animation for major movie studio clients. From our animation perspective, it’s also a great opportunity for us to form alliances with outside live directors. When it comes down to it, we want to collaborate with whoever best serves the creative vision, whether in-house or not.”
With a 70,000 sq. ft. facility in Los Angeles housing hundreds of digital artists and staff, Rhythm + Hues Studios’ three production divisions – Film, Commercials and Design – are industry leaders in their fields. Recent Rhythm + Hues Commercial Studios productions include campaigns featuring the GEICO gecko and the Hartford Stag and spots for Sudafed, Coca-Cola, Mercedes-Benz, AOL, Ritz-Bits and EA Games. Ongoing major projects include Target and Cox Communications. Recent Film Division credits include THE INTERPRETER, THE RING 2, THE CHRONICLES OF RIDDICK, X-MEN 2, DAREDEVIL and SUM OF ALL FEARS. Currently in production are THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE and SUPERMAN RETURNS.
