Issue link: http://digital.copcomm.com/i/51295
BBDO Bob Emerson, senior VP, executive producer at BBDO World- wide (www.bbdo.com), reports the agency's process for picking offline editors and mixers is different than the one they use for visual effects houses — the former is more often based on rela- tionships and the latter is typically the choice of the director. "With offline editors, it's always our call," he says. "You develop a relationship and a shorthand — if you work with someone long enough you can even read body language, so there is definitely less interest in experimenting with new people." When it comes to finding audio mixers for spots, producers and creative people have their favorites as well, but, according to Emer- son, the number of mixers working in commercials in limited — so agencies tend to compete with each other to get who they want. "As soon as I get a board I put a hold on the mixer because the supply and demand is lopsided." Often he'll do the same with offline editors, because "if they are good, they have creative people who really like them." So why is choosing a visual effects house a different animal? They are often on-set making sure shots are captured correctly in rela- tion to where VFX will be added later. The director's comfort level in this environment is crucial. So, when BBDO has a board that demands effects, they call the appropriate director and ask for a recommendation, knowing that if it's a house BBDO has had an unpleasant experience with, the agency has veto power, and the director is asked to consider another house. While relationships are important to Emerson, he still looks at reels, still listens to sales reps' pitches, and still hunts down work he's seen on air that impresses him. And often he listens to sugges- tions from colleagues at BBDO. "Reputation is important, and my best recommendation will often come from a fellow producer." For those who send him links to their work, make sure to describe the job and include a key frame from the project. "That is the most effective way for new people to get in front of me," says Emerson, "rather then somebody calling me to set up an appoint- ment — that is almost obsolete now." BBDO represents many major brands, including Gillette. A new spot from them, called Upside Down, was produced by Rabbit and directed by Twin, a pair of identical brothers. He points to this work being Framestore, NY. We've had good experiences with them, so it was an easy choice." Another spot that Emerson calls "tricky" was an Ad Council PSA for Autism Speaks. They approached the producer and director with a broad brief. In the past BBDO had done these spots featur- ing celebrities — Toni Braxton and Ernie Els — talking about the odds of them becoming famous and using stills and live action. But the new brief called for animation. "We had some ideas, but First Avenue Machine and their colleagues in Argentina, called Gazz, came back with two brilliant approaches. One, featuring Tommy Hilfiger, included creating sets out of his own fabrics and using CGI people. The other featured NASCAR's Jamie McMurray, whose niece is autistic. Gazz did it all out of paper, almost an origami-style, but in stop motion. In both cases we go live action when we talk again about odds, this time the odds of them having a family mem- ber with autism — which is 1 in 110. "Those were very interesting and fresh innovative animations, which were not a leap of faith from the agency, but a great example of starting with a broad idea and expanding on it," he concludes. OGILVY & MATHER When asked how she finds new talent — is it via reels, relation- Gillette's Upside Down, out of BBDO, was directed by Twin and features visual effects by Framestore, New York. as an example of the agency talking to the director early about the VFX house. In the spot, a guy falls out of bed, then walks along the wall, the ceiling and into the bathroom for a shave. "There is a live effect to this, and it included building a set within a gimble, a steel structure that is motion controlled and sped up, and we built the set into it," describes Emerson. "To really sell the spinning world idea, we wanted to see outside the windows to the horizon line and that meant visual effects. Twin suggested a few names, one ships, the Web? — Patti McConnell, director of production, North America at Ogilvy & Mather, replies, "Yes." More than ever, agencies now have the ability to find talent in a multitude of ways. "Everybody has to be looking at reels, reading up on talent and continuing that creative exploration, because whether it's the new technology — another look through a lens — or how you solve creative problems, editors keep evolving and finding new ways to do their thing. I don't think it's ever been easier or more exhilarat- ing than it is right now." She points to the Web as a way of easily viewing new work and the talent behind it. "I find everyone — the creatives, the producers — plays on YouTube. Sometimes it's going to the Source Website and tracking down who was involved in a spot you saw and loved." www.postmagazine.com Post • January 2012 33 Ogilvy's Patti McConnell: the agency's IBM projects are an example of using a variety of directors and editors on the same campaign.