Tara DiLullo tackles the vfx commercials, which wowed viewers during Super Bowl XL, to see how the top artists scored such magic.
Tagged With: Spot
Visual effects and animation company, Quiet Man, goes boating in their latest spot for Visa via BBDO. A preview of the upcoming holiday season, the spot started airing Nov. 1.
DOOM (with vfx by Framestore CFC and Double Negative) proved to be a tepid box office leader, despite its popularity as a First Person Shooter videogame. For the weekend ended Oct. 23, 2005, the Universal release debuted at $15.4M. Bowing in second place was DreamWorks family drama, DREAMER: INSPIRED BY A TRUE STORY (with vfx by Hammerhead), which brought in $9.1M. Following in third was Aardman/DreamWorks WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT. The stop-motion gem (with vfx from MPC) took in $8.5M and now has a three-week cume of $43.9M.
Fluid provided the visual effects for a :30 Reebok spot, launching the Answer IX shoe and featuring NBA superstar point guard for the Philadelphia 76ers Allen Iverson. Developed through mcgarrybowen (New York, NY), the spot, titled 10 YEARS OF HEART, promotes Reeboks Answer IX shoe with the pump technology that offers the perfect fit by surrounding the foot with an automatic, form fitting air chamber that you can turn on or off as needed. The spot debuted on ESPN nationally on Oct 18.
A52 served as the director for a recent HD spot titled Keyhole, as part of advertising agency RPAs massive year-long multiplatform marketing campaign for the all-new 2006 Honda Civic.
A52s collective features the talents of CG/vfx supervisor Andrew Hall and co-vfx supervisor Pat Murphy, and also relies upon the creative involvement of Rock Paper Scissors editor Angus Wall.
Sydney Pollacks THE INTERPRETER, starring Nicole Kidman and Sean Penn, captured the top spot at the box office in its debut weekend ended April 24, 2005. The old-fashioned suspense thriller took in $22.8M for Universal, upending MGMs remake of THE AMITYVILLE HORROR, last weeks champ, which hauled in $13.7M and $44.3M for a second place finish. Paramounts SAHARA (with vfx from Cinesite and Double Negative) dropped to third with $9M for a cume of $48.9M. Buena Vistas A LOT LIKE LOVE with Amanda Peet and Ashton Kutcher bowed in fourth place with $7.5M.
New York-based visual effects company Quiet Man and its design-savvy sister Grasshopper were recognized recently at the Film Preservation Honors event for their work on IMAGES, a :30 spot that debuted during the Golden Globes telecast in January 2005. Martin Scorsese is the Honorary Chair of the organization and presented at the event.
The design and animation for the spot came to life with Mindy Dubin of Grasshopper at the helm. IMAGES traces the evolution of pictures that have astounded us over time, compiling portraiture, early photography and high-speed photography.
Paramounts actioner SAHARA (with vfx from Cinesite and Double Negative) debuted with $18M for the weekend ended April 10, 2005, good enough for the top spot, beating out Robert Rodriguez SIN CITY, last weeks headliner. The visually provocative and stunning adaptation of Frank Millers graphic novels which debuted in the top spot last week collected $14M for Dimension Films in its sophomore outing.
Robert Rodriguez faithful adaptation of Frank Millers SIN CITY exceeded all expectations in its box office debut for the weekend ended April 3, 2005, bringing home $29.1M for Dimension (thanks to vfx support from CafeFx, Hybride and The Orphanage). Debuting in a distant second was MGMs comedy, BEAUTY SHOP, which collected $12.8M. Sonys GUESS WHO, last weeks winner, dropped to third place with $12.7M and a two-week cume of $41M.
Ad agency JWT/Denver recently commissioned digital studio !mpossible Pictures to create a visually compelling spot for Ford. BIG PICTURE, which airs in the Midwest, takes viewers on an exhilarating topographical adventure and introduces the Ford Big Picture Event at Midwest Ford dealers.
Bruce Shutan reports that it was back to basics for the 2005 Super Bowl spots, which continued the trend of seamless vfx.
Three NBA players are touched by the hand of the Creator and made to perfection in Method Studios latest work for Adidas and TBWA Chiat/Day. The spot, aptly titled MADE TO PERFECTION, was lensed by Rupert Sanders of Omaha Pictures and began airing Feb. 7, 2005.
Tara DiLullo goes behind the scenes to discover how vfx artist Joe Laffey made the attention-grabbing spec spot, X-Games Skateboard.
As VFXWORLD turns its focus in February to commercials, music videos and IDs, Tara DiLullo recently spoke with vfx artist Joe Laffey about his attention-grabbing spec spot, X-GAMES SKATEBOARD. The clever, fast-paced, MTV-style :45 spot features the tardy professional skateboarder, Caine Gayle, defying gravity, narrow alleys and city congestion to catch up to his fellow boarders on their X-Games-bound bus in Los Angeles. Laffey TV, the St.
The Sony comedy ARE WE THERE YET? debuted in the number one spot with $18.5M for the weekend ended Jan. 23, 2005. Paramounts COACH CARTER came in second in its sophomore week with $10.5M and $42.7M. Universals MEET THE FOCKERS dropped to third with $9.6M and $247.2M. Universals IN GOOD COMPANY took the fourth spot with $7.9M and $27.4M.
Talk about good timing. Just as British Telecoms NETWORKING spot gets nominated by the VES for Outstanding Visual Effects in a Commercial, VFXWORLD just happens to have an informative previs piece by Karen Raugust, including a QuickTime plug-in so you can view the completed spot as well as earlier versions. Theres dazzling vfx work by The Syndicate, too.
FilmCore editor Nicholas Wayman-Harris helped to bring Steve McQueen back to cinematic life for an ingenious FIELD OF DREAMS-inspired commercial for the Ford Mustang. Wayman-Harris edited theatrical and television versions of a spot in which images of the late actor drawn from the 1968 film BULLITT are used to make it appear as though he is behind the wheel of the 2005 version of the classic sports car.
The Syndicate brought all of its visual effects acumen to bear on BT-ICT NETWORKING, a 60-second spot for BT, the British telecom giant, from St. Luke's, London. H.S.I.'s Joseph Kahn, working through London-based production company, Exposure Films, directed the commercial, which is a metaphor for the agility of BT-networked businesses.
DreamWorks SHARK TALE not only retained its number one spot for the weekend ended Oct. 17, 2004, reeling in $22M, but also hit $118.7M as it climbed to the 10th spot on the all-time list of computer-animated features.
TWINS is the latest ant-based spot that Framestore CFC has animated for the Publicis Post Office campaign. The 40-second spot was directed by Simon and Jon for Blink Prods. and debuted on U.K. TV on Sept. 1, 2004. This is the fifth spot in this ongoing series of humorous animations.
The 2005 model Corvette marks only the sixth redesign of the classic American sports car in 51 years. Confident its latest model wont disappoint, Chevrolet and advertising agency partner Campbell-Ewald, Detroit, planned a major launch by teaming up director Guy Ritchie (SNATCH) of Anonymous Content with Venice, California-based visual effects studio Digital Domain (www.digitaldomain.com). The result is an epic :60 spot designed to reflect the significance of such a major automobile launch.
KromA added an interesting twist to a new spot for Reebok, using CG to create visuals similar to the "frozen moment" effects made famous in THE MATRIX. Conceived by New York agency The Arnell Group, the spot promotes Reebok's GXT athletic shoe and a tie-in with Footlocker. A group of boys peer through a broken window in an old warehouse building at a muscular man as he pounds a punching bag, jumps rope and performs crunches. A mere look from the hard-bodied guy sends the kids fleeing for their lives.
In creating visual effects for a new Coors Light spot, KromA conjured up the unique visions of a man bent on doubling his pleasure.
Conceived by Chicago agency Foote, Cone & Belding and directed by HSI's Joseph Kahn, the spot centers on a man who gets a new pair of glasses not to see better just to see more. The glasses cause the man to experience double vision so that when he goes to the beach he sees twice the number of beautiful women. The spot is set to the Jan & Dean tune "Surf City," which includes the refrain "two girls for every boy."