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August 2013

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postings Detective Work S Chevy's White World S ANTA MONICA — HiFi Project (, with locations here and in Minneapolis, helped define Chevy's new "White World" summer campaign with original music. The team, led by creative director Paul Robb and executive producer Birgit Roberts, contributed to the Goalie, Scratch, Radar, Touchscreen, Hill Assist, Parking Lot, Rain, Maze and Power spots. The commercials take place in a fictitious and all-white testing facility. Each promotes a different Chevy vehicle, be it the Equinox, Impala, Malibu, Sonic, Spark or Volt. In the Rain spot, for example, a demo shows how the rear wiper is activated when the car is put in reverse when it is raining. The driver is enjoying the interior amenities, including the radio, while his colleague is standing in the rain outside. Agency Commonwealth conceived the campaign, which rolled out with the Rain, Hill Assist and Maze commercials. Phase 2 included Radar, Parking Lot, Scratch, Goalie, Power and Touchscreen. Robb was the composer on four spots. He used a Cubase-based system, with Sonnox, Waves, and UAD plug-ins, a Dangerous Music Bax EQ and a Focusrite Red 3 compressor. Supply and Demand produced the package, with Jeffrey Plansker directing. Cutters' Barnett Kiel and Chris Hafner edited the commercials. The Mill/NY and LA provided visual effects. ANTA MONICA — ArsenalFX Color ( is providing dailies, online, color, VFX, titling and delivery for the new FX series The Bridge, which debuted in July. The series follows two police detectives — one Mexican, one American — in their joint effort stop a serial killer menacing both nations along the Texas/Mexico border. ArsenalFX Color is a recently-launched studio that's housed within the Santa Monica-based VFX shop, ArsenalFX. Color is home to partner/colorist Larry Field and Flame artist O.T. Hight. The new operation's TV credits include work on Bones, Nashville, Newsroom and Parenthood. For dailies, the studio called on their Colorfront solution. For conform they employed Avid Nitris DX in conjunction with Smoke. Color correction was performed using Lustre and Flame was used for VFX compositing. Tattoo Attack B RISTOL, UK — Aardman Animations ( directors Karni & Saul helmed a new Random Acts film titled Skinmeal. In the two-and-a-half-minute short, a sunbathing girl's tattoos come to life, with a small beetle ultimately being devoured by a larger dragonfly. The film is loosely inspired by the work of director David Lynch.  Karni shot the live-action footage on a DSLR camera in the studio at Aardman. Saul drew inspiration from tribal art to design the tattoo bugs. The insect tattoos were then animated in Autodesk Maya by the CG team at Aardman and were composited in Adobe After Effects. Saul also created the mood music. Sweet Sting S ANTA MONICA — Luma Pictures' ( commercial division has contributed to a new spot for Dewar's via agency OppermanWeiss/OW. The :30 Highlander Honey commercial centers on actress Claire Forlani and her encounter with a bee that entices and arouses with its sweet sting. The spot was overseen by Luma's commercial visual effects supervisor Simon Mowbry. The studio created the CG bee by referencing nature footage. The insect hovers outside Forlani's window and flits across a mesh screen before gently landing on her finger and stinging her. Commercial Head Films was the production company on the project with Moshe & Eddie Brakha of Brakha X2 directing. Luma used Maya, Z-Brush and Arnold for 3D, and both Nuke and Flame for compositing. 42 Post • August 2013

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