Issue link: https://digital.copcomm.com/i/145624
postings YOUR FACE ON DRUGS N EW YORK — A new PSA for The Partnership at Drugfree.org shows how drug use can affect the developing minds of teenagers. The :30 piece was conceived by DDB New York and produced by The Colony. In one long, unbroken shot, a teenager is shown aging — from 12 to 18 — and deteriorating in health. The Colony's design, animation and VFX studio Afterparty (www.afterpartyvfx.com) helped create the effect. David Gaddie directed the PSA for The Colony and was challenged on a technical level with delivering substantial aging and changes in appearance without using obvious tricks. He came up with the idea of prerecording and locking the audio first so the actor could perfectly learn his lipsync. The team would then shoot many different matched passes to the audio, while the actor's hair and make-up were altered between shots. Stop the Damage was shot with two Red Epic and two Red One cameras. DP William Rexer shot the footage, which was then reassembled in reverse order and merged at Afterparty to deliver the illusion of aging. Nick Carew edited on Final Cut Pro with the bulk of the post performed in Nuke 7. Autodesk Smoke was used for the finish. Color grading was via Blackmagic's Da Vinci Resolve. Nylon Studios provided sound design. 'Breaking the Silence' C HICAGO — Evolve Digital Cinema|IMG (www.evolveimg.com) won a 2012 Sports Emmy Award for "Outstanding Cinematography" for its work on ESPN's "Breaking the Silence," an Outside the Lines episode that looks into rape crimes, with a focus on SMU runner Monika Korra. The program, shot by Joel and Jesse Edwards, Bill Roach and Mike Bove, and produced by Kory Kozak, was shot over six weeks on locations that range from the streets of Dallas to the hills of Norway. The piece begins with a nightmare sequence and transitions to the peaceful fjords of Norway, where Korra grew up. The program was shot using a high-speed Phantom V65 package and Sony F3 cameras, complemented by Angenieux zoom primes, Zeiss primes and Canon 5D Mk 3s with Canon L Cine Mod lenses. The Edwards cut the piece with Final Cut Pro 7. Adobe After Effects, Imagineer's Mocha Pro, Red Giant's Magic Bullet Suite and Da Vinci Resolve were also used. Rite Aid re-imagined N EW YORK — CHRLX (www.chrlx.com) created a complete Rite Aid location for the :30 Wellness Store, which was conceived by Marc USA. The piece features a combination of visual effects and live-action to show how Rite Aid has re-imagined and reinvented their stores with customer comfort in mind. The VFX artists were on set with CHRLX executive creative director Ryan Dunn and co-director Joe Murray during the live-action shoot in Pittsburgh, getting a good frame of reference that was critical to the post production process. The studio used Particle Illusion Particle Effects for much of the pharmacy's formation, including the floors, walls and signage. A combination of Softimage and Maya was used for effects and animation, respectively. The look is more photoreal than hyper-real. Highlights were allowed to blow out because the team wanted to capture the anomalies of real photography. The team also treated the CG shots like filmed footage. Dade Orgeron was VFX supervisor. Brendan O'Neil edited the spot. Micah Kirz at Out Of The Blue in New York handled color correction. DISCOVERING A LOST ART N EW YORK — Grand Large's (www.grandlargeinc.com) Gaysorn Thavat recently directed a new spot for Huhtamaki, which offers stylish, disposable tableware products via its Chinet brand. The Lost Art of Getting Together, out of Nashville's The Buntin Group, takes place in a museum, with exhibits explaining that once upon a time, people once got together in person. A young woman observes the displays and decides to enter one. The exhibits appear in a still-life format with subjects frozen in mid motion. In each display — a cocktail party, an evening with the neighbors and a block party — the people are using Chinet products at the center of their traditional get-together. Footage was captured using an Arri Alexa with a motion control dolly. A male voiceover states: "There was a time when being social drove people to houses, not homepages." As the woman enters the Block Party exhibit, the still life comes alive and she is offered a hamburger, on a white Chinet plate. Baselight was used for color grading. Tim Moore at Filmworkers was editor and VFX artist, working in Avid and Flame. The Wojahn Brothers provided music, and audio post was by Phil Gazelle, Nick Palladino and JT Decker. 38 Post • July 2013 www.postmagazine.com