Post Magazine

August 2012

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editor's note A By RANDI ALTMAN EDITOR-IN-CHIEF Funny business gencies have been challenged with finding different ways to hold the attention of an increasingly distracted audience. An audi- ence that is spending less time watching broad- cast television and more time on the Web and engaged in social media. So it's no coincidence that I have noticed a trend toward funny, quirky and cute with recent commercial spots. Whether it's babies talking about stock trading, or two guys in ties busting Mr. Met's chops about his bad penmanship — he is a team mascot with only four fingers, give the guy with a giant baseball as a head a break. One of my favorites is for Carnival Cruise Lines which features a couple on a cruise looking out at the ocean while the viewer is given a glimpse at their previous vacation — to an animal preserve where their car is being attacked by a bear and a mountain lion, who are rocking the vehicle as if trying to shake out their next meal. The wife is screaming in a panic, while her husband hugs the back of his car seat for dear life, while shouting, "Throw the food out the window! Throw the food out the window!" It makes me chuckle each and every time. Not only is the concept great, but the performances and editing are as well. You can read about this spot in our Cutting Humor feature on page 32. POST SCRIPT Mutt's independent plan A aron Lee Lopez is the owner of Mutt Pro- ductions ( in By MARC LOFTUS SENIOR EDITOR San Antonio, TX, a boutique post house that offers production, editorial and audio services for commercial projects, music videos and shorts, which in turn, help fund the creation of the company's own original content. Lopez's career spans both production and post. He began as a PA and learned the differ- ent aspects of production before getting into post while in LA. When he founded Mutt, it was with the goal of making indie films. Mutt recently secured distribution with Indi- can Pictures for its Tex-Mex/grind house film The Return of Johnny V and for Dani The Ranch Hand, a film that was conceived and directed by one of the studio's interns. Lopez credits his "knack for production" with allowing the studio to take on low-budget creative projects. He's able to act as EP, editor and colorist, as well as read a script and break down how to achieve its specific needs using low-cost but flexible tools, such as Canon 2 Post • August 2012 DSLRs, Red's Scarlet and Apple's Final Cut Pro. "The Scarlet is little, but the quality is insane," he states. "You can shoot beautiful wide-screen imagery, which I love. You can take that camera around town and no one will even know you are shooting a movie. And these cameras take in more light, so you can use less lighting. It's so much easier to shoot stuff." Mutt is home to four suites — the main room is configured with Apple's FCP 7 and Color. They also have an Avid Pro Tools room, which is manned by mixer Brandon Olmos. "I put together a plan," he says of the stu- dio's business. "Once we figured out the sys- tem that we wanted to use, I started to market myself as a production company that can 'make people's dreams come true.'" Johnny V and Dani were essentially tests to see if the plan was viable, he notes. The posi- tive experience now allows Lopez to share with storytelling clients how they can secure a distribution deal, "as well as make their money back." According to Lauren Connolly, senior creative director at BBDO, NY, "You are seeing more and more comedy because comedy and humor is use- ful and relevant in the world of social media. Humor really lends itself to sharing, and people to commenting and reposting. People enjoy watching ads on YouTube, which is great for the industry." BBDO went for the funny with the Just My Shell Super Bowl spot (pictured) introducing Ms. Brown — who is definitely not naked, BTW. Connolly says the spot has surpassed 21 million "unofficial uploads," meaning people are reposting it. She cautions that not every brand can go funny. "The most important thing is knowing your brand and brand identity, and if humor is a direc- tion you want to go in, make sure that type of humor fits within the brand positioning." Connolly also believes that finding the write editor for a comedy spot is just as important as finding the right director and actors. "They bring humor and timing and delivery — all the things that make comedy really difficult." She gives a shout-out to Just My Shell's editor, Maury Loeb from PS260. "We consider him to be another creative in the room, and he brings a lot to those characters and to the humor and finding those moments that will make it sharable." So keep an eye out. EDITORIAL Senior Editor/Director of Web Content (516) 376-1087 MARC LOFTUS RANDI ALTMAN Editor-in-Chief (516) 797-0884 CHRISTINE BUNISH Film& Video JENNIFER WALDEN Audio European Correspondent BOB PANK DANIEL RESTUCCIO West Coast Bureau West Coast Blogger/Reporter BARRY GOCH IAIN BLAIR Film MICHAEL VIGGIANO Art Director ADVERTISING NATASHA SWORDS VP, Marketing (818) 291-1112 (818) 291-1153 cell: (818) 472-1491 MARI KOHN Director of Sales Eastern & Intl Sales Manager (631) 274-9530 cell (516)410-8638 GARY RHODES opt 2 (publishing), opt 1 (subscriptions) 620 West Elk Ave, Glendale, CA 91204 (800) 280 6446 CUSTOMER SERVICE MIKE TABIZON Account Manager (818) 291-1180 (781) 255-0625 • (818) 291-1153 REPRINTS Reprints LA SALES OFFICE: 620 West Elk Avenue, Glendale, California 91204 (800) 280-6446 WILLIAM R. RITTWAGE President / CEO SEE US ON Post Magazine is published by Post, LLC, a COP communications company. 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