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postings SINGING FOR BUD S ANTA MONICA — Elias Arts (www. eliasarts.com) created and produced original music for six TV spots that were featured during Super Bowl XLV, including Anheuser-Busch/Bud- weiser’s Wild West. Conceived by agency Anomaly, the :60 com- mercial is set in a saloon in the Old West. As an outlaw enters the establishment, the bartender realizes they have just run out of Bud. Luckily, the pony express — Bud’s Clydesdales — show up with a delivery just in time. The bar breaks into a chorus of Elton John’s “Tiny Dancer.” Smuggler and Tom Sann produced the com- mercial, which was directed by Ivan Zacharias. Filip Malasek edited the project, and The Mill handled the visual effects. Jonathan Elias served as executive creative director for Elias Arts. Jay Nierenberg handled the sound design. The studio used MOTU Digital Performer 7 to create the soundtrack. THEY DID THE HUSTLE H OLLYWOOD — Creative design agency The Ether (www.theetherdesign.com) has created an elaborate opening title sequence for producer/director Deon Taylor’s new feature film The Hustle, starring David Alan Grier. The Ether creative director Greg Kupiec and the studio’s team produced the two-minute main title sequence from con- cept to completion, including storyboard, design, animation, editorial and finishing. The main title employs deconstructed currency as a graphic metaphor to highlight the hustle that the characters of the film perpetrate in order to pay back money they owe. Macro imagery of paper currency is used as textural back- plates, graphic borders and stacks of fanned out bills, in com- bination with stop-motion stills of character IDs. Elements are interspersed in 3D space as the camera travels from one title card to another. A flopping type animation represents the flip-flopping characters experience as they decide their fates. The Ether’s team used Adobe’s CS5, including After Ef- fects, Photoshop and Illustrator, to create the open. VADER POWER L OS ANGELES— Union’s (www.unionedito- rial.com) Jim Haygood, who edited the fea- ture Tron: Legacy, called on his comedic timing for a new VW spot that aired during the Super Bowl. Created via Deutsch, the commercial follows a child in a Darth Vader suit, who is trying to muster “The Force.” After unsuccessfully trying to move different items around the house, he heads outside, where he encounters his dad’s new 2012 VW Passat. Dad, realizing what he’s trying to do, has some fun, starting the car with his keychain remote, much to the child’s astonishment. Park Pictures produced the commercial, with Lance Accord directing and Pat Frazier producing. Haygood cut the spot using an Avid editing system. Dylan Fishein assisted on the edit. Stefan Sonnenfeld at Co3 handled the final transfer. Amir Qureshi at Resolution LA performed the online, and Lime Studios’ Meyuhas completed the mix. PATHTO THE PROS N EW YORK — QuietMan (www.quietman.com) founder and creative director Johnnie Semerad worked with Jonathan Klein of the NFL to direct an interstitial promoting the 2011 NFL Draft. Path to Primetimede- buted during the Super Bowl on Fox. Turnaround time for the :10 interstitial was three weeks. The spot shows the stage of the NFL Draft, with the logo of the Carolina Panthers highlighted as the owner of the number-one selection. QuietMan used Autodesk XSI and Inferno on the project, along with Adobe After Effects and Photoshop, and Maxon’s Cinema 4D. Chris Covelli, Sue Jang, Young Park, Alex George, Zack Rubins all served as 3D artists. Duotone Audio handled sound design, and the final mix took place at Sound Lounge in Manhattan. 40 Post • March 2011 www.postmagazine.com