By virtue of their attendance at the recent 2009 Newport Beach Film Festival, tens of thousands of Southern Californians - including industry professionals and film fans alike - had numerous opportunities to witness the amazing talents of director Andy Hall first-hand. Since 2005, Andy has been with LA-based VFX boutique a52 (www.a52.com), filling roles on high-profile projects as director, 3D supervisor and/or VFX supervisor, and collaborating with many top industry talents - including a52's own VFX supervisor Patrick Murphy - on a growing list of amazing projects. For the 2009 Newport Beach Film Festival, Andy worked through full-service design company Elastic (www.elastic.tv), and in tandem with advertising agency RPA creatives Scott McDonald, David Smith and Gary Paticoff, to craft the festival's official :30 opening, which introduced all fare screened at the 8-day event....
From 20th Century Fox's monolithic lettering to the DreamWorks' crescent moon boy, major Hollywood studio logos are often more memorable than the films they're attached to. To celebrate the 10th anniversary of the Newport Beach Film Festival in southern California, director Andy Hall of a52 and Elastic, Santa Monica worked with Santa Monica-based agency RPA to pay homage to the fanfare with which big movie studios announce their presence at the beginning of every film....
Full-service design company Elastic detailed the work of Andy Hall, 3D and visual effects supervisor at VFX boutique a52, for the 2009 Newport Beach Film Festival....
Full-service design company Elastic (www.elastic.tv) is very proud to detail the work of Andy Hall, 3D and visual effects supervisor at VFX boutique a52 (www.a52.com), for the 2009 Newport Beach Film Festival. Working through Elastic and in collaboration with advertising agency RPA's creative director Scott McDonald and SVP/executive producer Gary Paticoff, Hall directed the festival's official :30 opening, which introduced all fare screened at the 8-day event that kicked off last week....
...3D and visual effects supervisor at VFX boutique a52 has directed the titles for the 2009 Newport Beach Film Festival through design company Elastic....
Full-service design company Elastic has recently worked with 3D and visual effects supervisor Andy Hall of VFX boutique a52, on an artistic animated short for the 2009 Newport Beach Film Festival. Working through Elastic and in collaboration with advertising agency RPA, Hall directed the festival' s official :30 opening short....
DESIGN/PRODUCTION COMPANY: Elastic; CITY/STATE: Santa Monica, CA; DIRECTOR: Andy Hall; EXECUTIVE PRODUCER: Alex Gorodetzki; PRODUCER: Jenny Bright....
..."Andy Hall is a mix of pure enthusiasm and sheer talent," began Scott McDonald, creative director at RPA. "Our client understood and supported what we were trying to do and believed in the artistry of the project. Elastic, Andy and a52 contributed such a sharp point of view - the very first ingredient was world class - we just kept throwing gasoline on that fire. I got to see this piece play on the biggest movie screen this side of the Mississippi and, let me tell you, it dropped some jaws."...
..."I was heavily influenced by the work of Terry Gilliam, particularly 'The Adventures of Baron Munchausen' because of its theatrical nature," Hall added. "By giving it a lot of texture and layering the lighting, I was able to capture a stage-like quality, and the whole film became very much a labor of love. I wanted there to be layers of detail, so that every time it's watched, viewers might see something new."...
RPA, a52 and Elastic put together this wee whimsical piece to kick off the 10th Annual Newport Beach Film Festival. It's pretty to look at....
...The finished content was flawlessly color-graded for film and HD/SD broadcast presentation by a52's Patrick Murphy using Autodesk Flame, and is driven by an original orchestral score from Robot Repair. Elastic's credits include executive producer Alex Gorodetzki, and for a52, executive producer Linda Carlson, producer Jenny Bright, CG supervisors Kirk Shintani and Max Ulichney, and 3D artists Adam Newman, Paulo de Almada and Christopher Janney. The spot's final mix is courtesy of Santa Monica's Framework Sound....
The fully computer-animated opening was designed by Hall to look and feel like one of the epic stop-motion masterpieces of Terry Gilliam or Tim Burton. The content artfully presents a take-off of the strangely similar aesthetic of studio titles like Hollywood with a dramatic twist - that welcomes viewers to Newport Beach and their 10th annual celebration of film with wit and charm....
This very original promo integrates stylized titles sequences from all the major and indie movie studios. As a kid that grew up getting excited about the title sequences as well as the feature film ahead, this hit me with a fresh breath of nostalgia. Enjoy....
Newport Beach Film Festival just wrapped up the 2009 event out in Orange County, California. The opening title sequence this year' s festival, which marries many of the popular major studio title sequences, was directed by Andy Hall from Elastic and animated at a52 by 3D artists Adam Newman, Paulo de Almada and Christopher Janney. The agency on the project was RPA. The sequence is titled Tenth of a Century, as it' s the 10th year of the festival....
An animated trailer for Newport Beach Film Festival that took us on a journey involving major (and minor) studios logos....
Andy Hall directs....
A nice clip with "strangely similar aesthetic of studio titles like Hollywood with a dramatic twist that welcomes viewers to Newport Beach and their 10th annual celebration of film with wit and charm."...
The fully computer-animated opening was designed by Hall to look and feel like one of the epic stop-motion masterpieces of Terry Gilliam or Tim Burton. The content artfully presents a take-off of the strangely similar aesthetic of studio titles - like Hollywood with a dramatic twist - that welcomes viewers to Newport Beach and their 10th annual celebration of film with wit and charm....
a52 and Elastic director Andy Hall has animated a snazzy YouTube for the Newport Beach Film Festival and RPA which screened at last week's event. How many logos can you spot?
The opening titles of major movie studios get a playful ribbing in Elastic and a52's opening for the Newport Beach Film Festival.
An animated intro tribute to ... intros.
Elastic/A52 presents the opening titles for the 10th Annual Newport Beach Film Festival. If not for its wonderful design and execution alone, this referential journey should have a special place for those of you who grew up geeking out on animated logo sequences, even before the titles. As an homage, Elastic cleverly deconstructs some of the most classic, animated studio preludes and flips them on their heads. This thing is firing on ALL cylinders.
...EDITORIAL COMPANY: Rock Paper Scissors. VISUAL EFFECTS COMPANY: a52....
Creativity-Online.com, Jan. 30, 2009: Lexus: Cards
There's nary a rumble in this construction site....
Creativity-Online.com, Jan. 30, 2009: Lexus: Cards - Behind the Scenes
Behind the scenes with Lexus' card shark....
BestAdsonTV.com, Jan. 29, 2009: Stacked deck
Rock Paper Scissors' Kirk Baxter and Angus Wall have been nominated for the Academy Award® for Best Film Editing for their work on David Finchers The Curious Case of Benjamin Button. Among Baxter's most recent commercial editorial assignments is this spot where he teamed with MJZ director Dante Ariola for an assignment from ad agency Team One. The spot features the world record holder for card stacking, Bryan Berg, who builds an entire city around the Lexus ES to showcase its smooth operation....
Feedhere.com, Jan. 29, 2009: So… Here’s the Deal with Lexus
The astounding talents of world champion card stacker Bryan Berg help make a point for how smooth a Lexus runs (and how little Mr. Berg was drinking the night before). Real cards, no tape, no glue, no 3D although A52 did contribute some Flame work. Agency: Team One Advertising, El Segundo, Director: Dante Ariola, Production Company: MJZ, Los Angeles, Editor: Kirk Baxter @ Rock Paper Scissors, VFX: A52, Santa Monica, Music: Elias, Los Angeles, Sound Design: Stimmung Films.
Boards Online, Jan. 28, 2009: Lexus: Cards
All's quiet in this house of cards. Visual Effects Company: A52, Santa Monica, Ca. Executive Producer: Ron Cosentino; Producers: Heather Johann, Pete King; VFX Supervisor: Tim Bird; Flame Artists: Joana Cruz, Mike Bliss, George Cuddy, Alex Kolansinski.
3D World, Winter 2008: Projects round-up: Soul Survivor
'Peel', a CG spot for Nike directed by Trevor Shepart of Elastic, features the dramatic rebirth of a shoe. The animation was created using Maya and ZBrush by visual effects house a52, led by Andrew hall, who aimed for an organic stop-motion look and feel. "I wanted the naimators to set keys from the end of the shot to the beginning,, so that they were making choices on a frame-by-frame basis," says hall. "With the shading and lighting of the scene, it was about th elittle nuances that get printed on film, from light fluctuations to subtle tonal shifts in picture."
Multichannel News, Dec. 15, 2008: People: a52
Santa Monica, Calif.-based visual effects shop a52 has added Andy McKenna as lead flame artist. He had been VFX supervisor and lead flame artist at Moving Pixels.
SHOOT Magazine, Dec. 12, 2008: Visual Effects Artist Andy McKenna Joins a52
Andy McKenna has come aboard Santa Monica-based a52 as lead Flame artist. He most recently served as VFX supervisor/lead Flame artist at Moving Pixels, Santa Monica.
Partfaliaz, Dec. 11, 2008: Andy McKenna joining a52
a52 proudly announced the addition of award-winning VFX supervisor and artist Andy McKenna to his full-time staff in the position of Lead Flame Artist. Established in 1997 as a home for the very latest high-end photo-real visual effects technologies and the industry's most innovative and talented graphic design artists, visual effects company a52 creates award-winning imagery for the world's most visually ambitious commercial and television projects....
shots, Dec. 10, 2008: ON THE MOVE
Santa Monica-based special effects shop a52 signs VFX supervisor and artist Andy McKenna. He takes on the role of lead flame artist, and joins from Moving Pixels.
numero f, Dec. 9, 2008: Andy McKenna Reel 2008
Desde el inicio de su carrera en 1994, Andy McKenna se ha establecido como uno de los mejores artistas VFX (efectos visuales) que trabajan en anuncios, vídeos musicales y películas de largo metraje....
Boards, Dec. 8, 2008: Industry news and people moves
Santa Monica-based (VFX) boutique a52 has hired VFX supervisor and artist Andy McKenna as lead Flame artist. http://www.a52.com
Creativity-Online.com, Dec. 8, 2008: People news from a52, Corbis and more
Andy McKenna (pictured) joined Santa Monica-based VFX boutique a52 as lead flame artist...
Dirtymouse.co.uk, Dec. 8, 2008: a52
Santa Monica-based visual effects (VFX) boutique a52 have a great catalogue of work.
Digital Arts Magazine, Dec. 5, 2008: Flame artist Andy McKenna joins a52's VFX roster
...McKenna himself has spoken warmly of his new position: "For as long as I can remember," he says, "a52 has been one of the most prestigious VFX companies in the United States. There is a certain sense of style and sophistication to the finish of all work that a52 produces... Over the years, I have always kept a keen eye on a52, and when the opportunity came up to join them, especially after meeting with Angus Wall, Linda Carlson and the rest of the team, it became clear that it was going to be a great fit. They have also been doing some really fantastic 3D work which really impresses me, too.”...
The Reel Newsletter, Dec. 5, 2008: Newsreel 5/12/08: McKenna joins A52
Recently a52's executive producer Ron Cosentino proudly announced the addition of award-winning VFX supervisor and artist Andy McKenna to his full-time staff in the position of Lead Flame Artist. At a52, which is well known for its artful contributions to major commercial, music video and television projects....
POST Magazine, Dec. 4, 2008: A52 ADDS LEAD FLAME ARTIST
Since beginning his career in 1994, McKenna has worked in commercials, music videos and feature films. He worked with Sydney-based visual effects and design company GMD, contributing to The Lord of the Rings: The Fellowship of the Ring. Later, while with Radium, he worked on music videos for Ludacris, Janet Jackson, Liz Phair, and Missy Elliott. His career also includes time with Sydney's Animal Logic. McKenna joined Moving Pixels in 2006....
SHOOT Magazine, Dec. 4, 2008: Award-Winning VFX Artist Andy McKenna Joins a52 as Lead Flame Artist
Visual effects boutique a52 is very proud to announce the addition of award-winning visual effects (VFX) supervisor and artist Andy McKenna to its full-time staff. McKenna's 2008 reel can be viewed online by clicking here. At a52, which is well known for its artful contributions to major commercial, music video and television projects, McKenna joins a team that includes the talents of Flame artist/VFX supervisor Patrick Murphy, 3D/VFX supervisor Andrew Hall, and many others....
StudioDaily.com, Dec. 4, 2008: Award-Winning VFX Artist Andy McKenna Joins a52 as Lead Flame Artist
McKenna joins Flame artist/VFX supervisor Patrick Murphy and 3D/VFX supervisor Andrew Hall...
VFXWorld.com, Dec. 4, 2008: VFX Artist Andy McKenna Joins a52 as Lead Flame Artist
Since beginning his career in 1994, McKenna has established himself as one of the world's premier VFX artists working in commercials, music videos and feature films. During a stint with Sydney-based GMD, Asia Pacific's most highly awarded design and visual effects company, McKenna contributed his artistry to major feature film projects, among them, THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING....
The Screenwriters League, Dec. 3, 2008: DVD Junkie #1: Deadwood
...In re-watching the first season, I am first struck by the slickness and ease of the opening sequence - designed by Rock Paper Scissors and a52 visual effects (which is better known for car commercials and music videos, most notably the quite ridiculous "God Gave Me Everything" by Mick Jagger), one thing you can say about HBO is that they know how to set a tone. Their long opening sequences are like foreplay, and it's quite obvious they know this by how much care and design know-how goes into each....
Booooooom.com, Nov. 24, 2008: a52 / Acura
I guess this is ad week - a52 created this stunning ad for Acura. View the high quality version of the ad here.
SHOOT Magazine, Nov. 14, 2008: Top Spot of the Week: Acura MDX's "Motion"
VFX: a52, Santa Monica....
Motionographer.com, Nov. 7, 2008: Poetically beautiful new Acura ad from a52 masters
Poetically beautiful new Acura ad from a52 masters.
Boards, Sep. 2008: ANIMATION & VISUAL EFFECTS: Fine lines: a52 spins a winner for Nike
For anyone who's seen the footage of drugged spiders haplessly weaving webs, a52 director Andy Hall's "Spider" for Nike - in which time-lapse footage shows a spider spinning a web in the shape of a sneaker - might seem the result of a fortuitous Ritalin-induced high. "There's a whole series of spots that we've created for Nike's Flywire technology, reflecting different elements of what this new technology represents," explains Hall of the Wieden+Kennedy, Tokyo spot. "In the case of 'Spider', [it was about] emphasizing something that was incredibly light but incredibly strong."...
Boards, Sep. 2008: Inventory & hookups
Los Angeles-based editorial company Rock Paper Scissors and VFX company a52 launched design company Elastic and hired Alex Gorodetzki as EP and Trevor Shepard as creative director of design.
CGM, Sep. 2008: Oversea VFX Express: Nike "Spider"
Rock Paper Scissors, a52, Elastic....
No fat clips!!!, Sep. 28, 2008: Boeing: Connecting
A spot from 2003 directed by Andrew Becker and produced by Gabi Simpson at Radical Media. Director of photography: Claudio Miranda. Advertising agency: FCB. Creative director: John Claxton. Art director: Chuck Taylor. Editor was Dave Trachtenberg at Cosmo Street. Visual effects by a52 under the supervision of Simon Brewster. Additional crew: Simon Brewster, Marguerite Cargill, Scott Johnson, Vonetta Taylor, Westley Sarokin.
MarSciTechtainment, Sep. 24, 2008: Secrets of the visual effects and animation businesses...
...During my years of working in the film and television production industries, I was very surprised to learn how important these often complementary areas often were in the grand schemes -- and since I began representing LA visual effects company a52 in 2000, I've gained even more appreciation for the deep talents of the best artists, producers and entrepreneurs who handle these magical feats....
Motionographer.com, Sep. 16, 2008: A52 & Elastic Strike Again for Nike Lab
a52 and Elastic follow up their Spider piece for Nike Lab (W+K Tokyo) with this throwback to Neill Blomkamp's Evolution piece.
FWATheater.com, Sep. 15, 2008: Video of the Day: Nike - Peel
Produced through the creative team at Wieden+Kennedy Tokyo and their clients at Nike for Nikelab.com, this latest campaign spot was directed by Elastic's creative director of design, Trevor Shepard, and also features the 3D and VFX artistry of a52.
Adland, Sep. 13, 2008: Nike - "Peel" - (2008) :20 (Japan)
A new spot for W+K Tokyo's ongoing Nike campaign -- this one was directed by Elastic's creative director of design, Trevor Shepard. Here we watch a new Nike be born from and old Nike, and it's created entirely in CGI. Agency: Wieden+Kennedy Tokyo.
Boards Online, Sep. 12, 2008: Nike: Nikelab - Peel
Shoes shed too.
SourceEcreative Newsletter, Sep. 11, 2008: Member News from Around the World
a52 artists recently helped bring the latest Lexus ES broadcast spot to life for advertising agency Team One. Directed and photographed by Lance Acord through Park Pictures, the spot entitled Perspective is the newest spot from for the ES conveying the fact that, "Behind every detail, there's a detail." Park Pictures' production team consisted of executive producer Jackie Kelman Bisbee, head of production Dinah Rodriguez and line producer Tony McGarry, while Company 3 colorist Stefan Sonnenfeld and a52 VFX supervisor Pat Murphy, 3D supervisor Andy Hall and CG artists Kirk Shintani & Max Ulichney, and Rock Paper Scissors editor Noah Herzog also weighed in.
BestAdsonTV.com, Sep. 3, 2008: Lexus: Perspective
...This newest spot individually hangs the vehicle by thousands of pieces by wires, and then produced a fascinating spot exploring the exhibit in detail, which finally resolves to an angle where the pieces perfectly align to reveal a profile vision of the newest ES....
Coloribus.com, Sep. 3, 2008: Lexus ES: Perspective
with Lexus, behind every detail, there is another detail...
FWATheater.com, Sep. 3, 2008: Lexus - Perspective
a52's artists recently helped bring the latest Lexus ES broadcast spot to life for advertising agency Team One, conveying the fact that, "Behind every detail, there's a detail."...
Boards Online, Sep. 2, 2008: Lexus: Perspective
It's not what you see, it's how you see it....
Animation World Network, Aug. 28, 2008: Hot Spots Showcase 6: The Best in Animated & VFX Commercials
..."a52 was immensely important in conveying the 'reality' of a giant pop-up book. We wanted the spot to feel as real as possible. What we found in the course of production was that building a pop-up book over 20 feet tall to accommodate a full-sized Lexus was physically impossible. To be more exact, the book could have been built that large, but the weight of the pop-up extensions would have been too great, and turning the pages on a book that large at a rate that could accommodate a 30-second spot was problematic. As a result, production built a giant, full-sized book frame for green screen, with tabs and wheels that could be manipulated by actual stage hands. And the actual pop-up book with moving parts was a mere six feet high, which was then married to the green screen frame at a52. The guys at a52 put complete heart and soul into making the effect as lifelike as humanly possible. As with all intricate effects jobs, passion is the driving force that usually propels the end result beyond merely convincing to something quite amazing." -- Jon Pearce, creative director, Team One....
Animation World Network, Aug. 28, 2008: Hot Spots Showcase 6: The Best in Animated & VFX Commercials, Page 5
...As reported by AWN and VFXWorld, the principals behind Los Angeles-based editorial company Rock Paper Scissors (RPS) and visual effects company a52 recently announced the launch of Elastic as a new, full-service design-driven digital production studio. As the first spot from this new venture, Spider represents a perfect example of visual content requiring the type of hybrid production approach Elastic was created to address....
Creativity-Online.com, Aug. 26, 2008: Lexus: Perspective
A car seen as a sum of its parts....
StudioDaily.com, Aug. 18, 2008: Top Spot of the Week: Nike "Spider"
Nike "Spider"; Agency - Wieden + Kennedy Tokyo; Production Company - Elastic; Director - Andrew Hall; VFX/Post - a52...
aboutCREATION.nl, Aug. 17, 2008: Rock Paper Scissors and a52 Launch Elastic
The principals behind Los Angeles-based editorial company Rock Paper Scissors (RPS) and visual effects company a52 announced the launch of a new, full-service, design-driven company named Elastic.
Blip.tv, Aug. 17, 2008: Nike Spider
Alex Gorodetzki Launches Elastic as Executive Producer with Trevor Shepard as Creative Director of Design....
Dexigner.com, Aug. 15, 2008: Rock Paper Scissors and a52 launch Elastic
...Elastic already has assignments underway for Nike and many other prominent international brands. The first Elastic spot is Andrew Hall's Nike "Spider," produced through Wieden+Kennedy Tokyo and their clients at Nikelab and offering a perfect example of visual content requiring the type of hybrid production approach Elastic was created to address....
SHOOT Magazine, Aug. 15, 2008: Rock Paper Scissors, a52 Launch Elastic
The principals behind Santa Monica-based editorial company Rock Paper Scissors (RPS) and visual effects company a52 have launched Elastic, a full-service, design-driven house. RPS and a52 co-founders Angus Wall and Linda Carlson have hired Alex Gorodetzki as Elastic's executive producer and Trevor Shepard as its creative director of design....
Motionographer.com, Aug. 14, 2008: Santa Monica Welcomes Elastic
Santa Monica welcomes Elastic, a design-driven VFX house and part of the a52/Rock Paper Scissors Family. Their first official project was this piece for Nike, which we recently profiled.
Creativity-Online.com, Aug. 13, 2008: People news from JWT, TBWA and more
Rock Paper Scissors/a52 co-founders Angus Wall and Linda Carlson announced the launch of their full-service design firm Elastic, which will be led by newly hired EP Alex Gorodetzki and creative director of design Trevor Shepard.
Shots, Aug. 13, 2008: NEWS IN BRIEF
LA editorial company Rock Paper Scissors and visual effects company a52, have launched a brand new design-driven company called Elastic. Nikelab spot Spider by a52's Andy Hall represents the first piece of work to emerge from Elastic.
Boards Online, Aug. 12, 2008: Industry news and people moves
Los Angeles-based editorial company Rock Paper Scissors and VFX company a52 have launched design company Elastic and hired Alex Gorodetzki as executive producer and Trevor Shepard as creative director of design.
It's Art Magazine, Aug. 12, 2008: The Making of Spider
Questions and answers with Andrew Hall. Can you give me a quick play-by-play on what you and your team did on this spot?....
VFXWorld.com, Aug. 12, 2008: Rock Paper Scissors and a52 Launch Elastic
...Elastic will represent all in-house editors and vfx artists from RPS and a52 for projects ranging from title to type design....
Studio Daily, Aug. 11, 2008: Rock Paper Scissors and a52 Launch Elastic; Alex Gorodetzki Launches Elastic as Executive Producer with Trevor Shepard as Creative Director of Design
"Elastic has grown out of the needs of our clients and the desires of our artists to make pictures and tell stories," said Angus Wall, who together with Linda Carlson launched RPS in 1992 and a52 in 1995. "It's great to operate as a little studio and produce projects from beginning to end. RPS, a52 and Elastic will be working as autonomous companies and a complete digital production studio." Elastic will represent all in-house editors and VFX artists from RPS and a52 for projects ranging from title to type design....
FWATheater.com, July 27, 2008: Nike - Spider
Wieden+Kennedy Tokyo was asked by Nike to create a global product innovation campaign for their new super light shoes with Flywire and Lunarlite Foam technologies. We created these spots to tell short product benefit stories and air online at nikelab.com as part of the campaign....
Viralblog.com, July 25, 2008: Viral Friday: #7. Nike Lab: Spider
Wieden+Kennedy Tokyo and a52 created the above commercial for Nike Lab. The idea is simple, a spider crafts a web together that looks like a three dimensional shoe, but there’s just something about it that’s so crisp and fresh. Nike is introducing new super light shoes that utilize the innovative Flywire technology. W+K Tokyo created a few other ads for Nike Lab to promote the new shoes. Check out Moon Jump and Pillows. (Source: Kitsune Noir, Trendhunter)...
Creativity-Online.com, July 18, 2008: The Latest: Nike: Spider
Nike gets its own Charlotte.
Boards Online, July 17, 2008: Nike: Spider
A52 spins a CG spider in this "blip" for Nikelab....
Shae-Shae's Blog, July 17, 2008: Cool Nike Ad
a52, a visual effects company out of Santa Monica, California created a cool advertisement for Nike Lab. It features a spider spinning a web into the shape of a pair of Nike Zoom Victory kicks....
PreQuel Magazine, July 15, 2008: W + K and a52’s Nike Spot
Advertising agency Widen + Kenedy (Tokyo division) and visual effects studio a52 , recently teamed up to produce a beautiful spot for Nikelab.com. The advert featuring a spider weaving a Nike running shoe into its web is a simple, striking, perfectly designed visual communication of both the product and brand without any words. Remarkable....
Motionographer.com, July 13, 2008: a52 and W+K Tokyo for Nike Lab
Directed internally by 3D Supervisor Andrew Hall, A52 created this simple, yet stunning film for Nike Lab via W+K Tokyo. Reminiscent of some of the early...
Feed, July 11, 2008: W+K Tokyo, A52 Spin Web For Nike
Eerily well done Nikelab spot from Wieden+Kennedy Tokyo and director Andrew Hall with effects work from A52. “Spider” is currently playing at nikelab.com, in retail locations and as a viral online. Watch Nikelab “Spider”...
Forget the film, watch the titles, July 2, 2008: Carnivàle
One of the eye-catching features of HBO's TV drama series Carnivàle was the meticulous art direction and the striking opening title sequence. The series won five Emmy's...
Design Scene, June 27, 2008: a52 - visual effects studio
Since its inception in 1997, a52 has developed and produced imagery for some of the world’s best known commercials and music videos. Home to some of the industry’s most talented artists a52's innovative studio has created award winning visual effects through the seamless integration of 2D and photoreal CGI...
VFXTalk.com, June 19, 2008: a52 Honored For Monster.com Work
...a52's extensive visual effects contributions to "Slots" are courtesy of visual effects supervisor Pat Murphy, 3D supervisor Andy Hall, producer Scott Boyajan, effects artists Kirk Balden, Tim Bird, Raul Ortego, Mike Bliss, George Cuddy, Shannon Nobel, Marty Taylor, Brandon Jolley, James Pastorius and Brendan Smith, and 3D artists Max Ulichney, Kirk Shintani, Chris Janney, Dan Gutierrez, Paulo deAlmada and Eli Guerron. Executive produced for a52 by Linda Carlson, additional RPS credits include executive producer Carol Lynn Weaver and assistant editor Terence "Biff" Butler. Final audio for "Slots" was mixed by Loren Silber of Santa Monica's Lime Studios....
Computerlove, June 10, 2008: 2008 AICP Show Honors a52's VFX on Monster.com "Slots"
...The inclusion of Monster.com "Slots" in this year's program – where it is honored in both the Visual Effects and Cinematography categories – marks the eleventh consecutive year that a52's work has been honored in the prestigious event. Founded in 1997, a52's work has now appeared in the AICP Show each year since 1998 – the first year it was eligible....
September Industry, June 9, 2008: a52
Posting about visual effects is not what I usually do; but today I’ll make an exception meet a52. Take a look at their site and you’ll notice there is lots; of award winning work, including the recently awarded “Slots”....
SHOOT, June 6, 2008: 2008 AICP Show List Of Honorees
Visual Effects: Monster.com "Slots" :60; Production Company: Gorgeous Enterprises; Director: Frank Budgen; Executive Producers: Paul Rothwell, Cassie Hulen; Advertising Agency: BBDO New York; Agency Chief Creative Officer: David Lubars; Agency Executive Creative Director: Eric Silver; Agency Art Directors: Richard Ardito, Jerome Marucci
Agency Copywriter: Grant Smith; Agency Senior Producers: Ed Zazzera, Jeff Beverly; Visual Effects Supervisors: Patrick Murphy, Andrew Hall, A52; Visual Effects Producer: Scott Boyajan, A52; Composers: Chemical Brothers; Editor: Angus Wall, Rock Paper Scissors.
SHOOT, June 6, 2008: Artful Sweet 16 At 17th AICP Show
London-based Gorgeous Enterprises was next in the production house countdown with four honors all directed by Frank Budgen: Monster.com's "Slots," which gained recognition in the Visual Effects (A52, Santa Monica) and Cinematography (Budgen and John Mathieson) categories; Sony Bravia's "Playdoh" from Fallon London, which topped the Advertising Excellence/International category; and Live Earth's "S.O.S. Save Our Selves" for Young & Rubicam, Chicago, which was honored in the Original Music category (music from bicoastal shop Human)....
Artect.net, May 26, 2008: Santa Monica’s ‘Graffiti Building’
Three distinct art forms converge on the corner of Broadway and Cloverfield Boulevard in Santa Monica. A building clad in graffiti since 1991, by famed graffiti writers Slick, Risk, Den and Severe, now houses the digital artists of editorial studio Rock Paper Scissors and visual effects boutique a52. The latter perhaps best remembered for their avant-garde title design work on HBO’s Carnivale, and Rome....
Dekh Bhai Dekh, May 15, 2008: Carnivale - Opening Credits
Carnivàle's opening title sequence was created by A52, a visual effects and design company based in Los Angeles, and featured music composed by Wendy Melvoin and Lisa Coleman. The opening title sequence won an Emmy for "Outstanding Main...
Dirty Mouse, May 6, 2008: Bruce Bolander
Architect Bruce Bolander has retrofitted Santa Monica’s Iconic “Graffiti Building” as a digital artists’ haven for Rock Paper Scissors and a52. That is a pretty smart place to work!...
Shots, Apr. 23, 2008: ON THE MOVE
Former a52 VFX producer Ron Cosentino is back on board as executive producer for the company, which along with its sister editorial company Rock Paper Scissors relocated from West Hollywood to Santa Monica late last year.
SourceEcreative Newsletter, Apr. 23, 2008: Member News from Around the World
Malcolm Venville of Anonymous Content and Wieden+Kennedy/Tokyo masterminded this inspiring look into the training 'routines' of Nike-sponsored pros. As famed athletes train in their respective disciplines, pushing their bodies to the limit, the spot, Fast Forward, showcases the will and determination it takes to achieve their goals. Also lending their expertise were Anonymous executive producer Dave Morrison, HOP Sue Ellen Clair and producer Paul Ure, Rock Paper Scissors editor Angus Wall, and a52 Inferno artist Tim Byrd.
SourceEcreative Newsletter, Apr. 23, 2008: Member News from Around the World
a52's Andy Hall recently directed (while also serving as VFX supervisor) a set of four :15 spots for 72andSunny and their clients at Callaway for the new Callaway Golf Tour i Series Golf Ball. The spots, Longer, Bite Ball, Run Ball, and Get In There, combine live-action with CG elements in order to present action from the ball's POV while it performs its best tricks. With a52 serving as production, design, 3D, VFX and finishing company, credits include EP Ron Cosentino, line producer David Wolfson, producers Jenny Bright & Megan Meloth, flame artists Patrick Murphy & Tim Bird, 3D supervisor Kirk Shintani, and 3D animators Chris Janney, Eli Guerron, Max Ulichney, Paulo Mauro & Dan Gutierrez. DP duties were handled by Montana Artists Agency's own Jim Matlosz while music was courtesy of Emoto and sound was provided by 740 Sound Design.
VFXTalk.com, Apr. 21, 2008: Anonymous Content Wins Big with Nike
Editorial: Rock Paper Scissors. Editor: Angus Wall. Producer: CL Weaver. Colorist: Angus Wall. Post/Effects: a52. Lead VFX/Inferno Artist: Tim Bird.
Art of the Title Sequence, Apr. 21, 2008: Carnivàle [2003]
Created by: a52....
FEED, Apr. 16, 2008: On the Move: Rock Paper Scissors & a52
Santa Monica’s growing reputation as LA’s post production place-to-be grew again in late 2007 when West Hollywood editorial house Rock Paper Scissors and VFX facility a52 took over the ‘graffiti building’ at Broadway and Cloverfield....
Creativity-Online.com, Apr. 9, 2008: People news from DDB, BBDO and more...
Santa Monica-based VFX company a52 welcomed back VFX producer Ron Cosentino, who will now take on the role of executive producer....
SourceEcreative.com, Apr. 8, 2008: On the Move: Ron Cosentino Returns to a52 as Executive Producer
Effective immediately, former a52 VFX producer Ron Cosentino is back onboard as EP for the company, which along with its sister editorial company Rock Paper Scissors relocated from West Hollywood to Santa Monica late last year....
Boards Online, Apr. 8, 2008: Industry news and people moves
Former a52 VFX producer Ron Cosentino is back on as EP of the Santa Monica-based company, after a recent stint with the LA office of visual effects company Mac Guff.
Digital Content Producer Briefing Room, Apr. 2, 2008: POP SOUND’S PETER RINCON COMPLETES THRILLING MIX FOR NEW RANGE ROVER SPOT
Visual FX & Postproduction Company: a52. Executive Producer: Ron Cosentino. Producer: Heather Johann. Lead Flame Artist: Simon Scott. Flame Artists: Marty Taylor, Michael Bliss, George Cuddy, Carlos Morales. After Effects Artist: Cladia YiLeon.
AdRants.com, Mar. 27, 2008: 'Will You Ever...?' is Probably a Better Question
...The spot was put together by HSI Productions and a52 (which did the VFX) for agency Young & Rubicam...
SourceEcreative Newsletter, Mar. 26, 2008: Member News from Around the World
Irvine, California-based agency Young & Rubicam recently turned to HSI director Gerard de Thame for client Range Rover. The spot, Set Free, is aimed at all the adrenaline junkies out there by providing glimpses of extreme sports. The tag: Have You Ever? Additional talents included HSI executive producer Maddi Carlton, Skouras Agency DP Mick Coulter, Union Editorial cutter Jim Haygood, Pop Sound mixer Peter Rincon, The Syndicate colorist Beau Leon, music and sound company Hum Music, and VFX house a52.
Adland, Mar. 18, 2008: Range Rover Sport - "Set Free" -(2008) :30 (USA)
Irvine, California-based agency Young & Rubicam Brands recently turned to HSI Productions' director Gerard de Thame and the VFX artistry of a52 -- plus Union Editorial's editor Jim Haygood and other talents from The Syndicate, Hum and POP Sound -- to create an adrenaline-inducing :30 spot for the new Range Rover Sport entitled "Set Free." The spot debuted on broadcast and cable outlets last Friday.
BestAdsonTV.com, Mar. 18, 2008: LAND ROVER SET FREE
...Young & Rubicam Brands recently turned to HSI Productions' director Gerard de Thame and the VFX artistry of a52 -- plus Union Editorial's editor Jim Haygood and other talents from The Syndicate, Hum and POP Sound -- to create an adrenaline-inducing :30 spot for the new Range Rover Sport entitled 'Set Free' ...
StudioDaily.com, Mar. 6, 2008: Five Questions with... Jon Pearce, creative director, Team One
Title - "Missing H" - :60. VFX: a52. VFX Supervisor: Patrick Murphy.
Duncan's TV Ad Land, Feb. 18, 2008: Monster.com Slots
Visual effects were developed at a52 by executive producer Linda Carlson, producer Scott Boyajan, VFX supervisor Patrick Murphy, and 3D supervisor Andy Hall....
Shots, Feb. 8, 2008: Contender: Lexus: Missing H
VFX: a52
Advertolog.com, Feb. 7, 2008: TV-spot: Lexus: Missing H
Imagine a world without 'H'. VFX: a52. VFX Supervisor: Patrick Murphy.
DigitalPostProduction.com, Feb. 7, 2008: Super Bowl XLII: Digital Artists Tackle Commercials with Autodesk Solutions
...a52 used Flame to shape CareerBuilder.com's SELF-HELP YOURSELF and HELP YOU HELP YOU, which aired during ESPN's SportsCenter immediately following the conclusion of the Super Bowl....
VFXWorld, Feb. 7, 2008: Super Bowl XLII Tackled with Autodesk Solutions
...a52 used Flame to shape CareerBuilder.com's SELF-HELP YOURSELF and HELP YOU HELP YOU, which aired during ESPN's SportsCenter immediately following the conclusion of the Super Bowl....
BestAdsonTV.com, Feb. 6, 2008: CAREERBUILDER.COM: HELP YOU, HELP YOU
Using a humorous approach to show a worker reassessing his career situation, "Help You Help You" features a man a man walking into a shop where he confronts himself, picks himself up and carries himself out the door. "a52 and RPS were meticulous with all the technical details, which allowed us to focus on the performances, script, and art direction," said Wieden+Kennedy copywriter Jason Bagley....
Digital Content Producer Briefing Room, Feb. 6, 2008: Team One Puts the ‘H’ in Hybrid for Lexus
Team One Los Angeles recently finished a powerful and innovative campaign for Lexus Hybrids that examines what the world would be like without the letter ‘h’. The :60 spot directed by MJZ’s Dante Ariola takes us through a series of humorous and visually vexing scenes looking at what major landmarks, news stories, classrooms, and typical office environments would look like if all the h’s were mysteriously missing.... Editorial - Rock Paper Scissors. Editor - Andrea MacArthur. VFX Co - a52. VFX Supervisor - Patrick Murphy.
Boards Online, Feb. 5, 2008: Lexus: Missing H
Imagine a world without "h". VFX: a52. VFX Supervisor: Patrick Murphy.
Creativity-Online.com, Feb. 5, 2008: The Latest: Lexus: Missing H
The consonant defects to Lexus.... VFX: a52. VFX Supervisor: Patrick Murphy.
StudioDaily.com, Feb. 4, 2008: Top Spot of the Week, 2/4: CareerBuilder "Help You"
...Editorial Company: Rock Paper Scissors . Executive Producer: Carol Lynn Weaver. Editor: Angus Wall. Asst. Editor: David Brodie. Visual Effects Company: a52. Executive Producer: Linda Carlson. Producer: Megan Meloth. On-Set Vfx Supervisor, Vfx Supervisor: Patrick Murphy. Flame Artists: Patrick Murphy, Tim Bird....
SHOOT Magazine, Jan. 25, 2008: Super-Duper Sunday In Offing; The Big Game Gets Even Bigger In Light Of Writers Guild Strike's Impact On TV Landscape
Assorted industry houses spanning visual effects, postproduction, music and audio post contributed to this year's body of Super Bowl work. a52, Santa Monica, was involved in effects for some of the prospective Careerbuilder.com work (which were helmed by Mills).
SHOOT Magazine, Jan. 25, 2008: Visual Effects & Animation: SHOOT's Top Ten Chart
Monster.com "Slots." a52, Santa Monica. Patrick Murphy, VFX supervisor; Andy Hall, 3D supervisor; Linda Carlson, executive producer; Scott Boyajan, producer. Toolbox: Maya, Mental Ray, PF Track, Thankless (proprietary crowd simulator), Shake, Flame.
Motionographer.com, Jan. 22, 2008: A52: Monster "Slots"
From out of nowhere, Monster looks like they’ve decided to fund beautiful work! First it was “Legs,” now it’s “Slots,” with seamless vfx from the masters at A52. Unlike “Legs,” you know where this spot is headed after the first five seconds. But that doesn’t take the fun out of it; knowing that this is yet another “don’t be a part of the herd” spot is what makes watching it fun. Since we know the basic concept, we get to gorge ourselves on the details—of which there are plenty. Full credits on A52’s project page.
SourceEcreative Newsletter, Jan. 17, 2008: Member News from Around the World
a52's Pat Murphy and producer Scott Boyajan led the VFX and Frank Budgen/Anonymous Content led the directorial charge on the new Monster.com spot for BBDO/New York entitled Slots. With most of the footage consisting of workers traveling on individual tracks and shot on location in Buenos Aires, a52 team applied their artistic finesse to the amazing feats and added numerous photo-real 3D elements to the picture mix. Also lending their skills were a52 EP Linda Carlson, Flame artists Kirk Balden, Tim Bird, Raul Ortego, Mike Bliss, George Cuddy, Shannon Nobel, Marty Taylor, Smoke artist Brandon Jolley, Shake artists James Pastorius & Brendan Smith, 3D supervisor Andy Hall, and 3D animators Max Ulichney, Kirk Shintani, Chris Janney, Dan Gutierrez, Paulto deAlmada, Eli Guerron; and Rock Paper Scissors editor Angus Wall.
SHOOT Magazine, Jan. 11, 2008: VES Award Nominations Find Asylum For Spots
...Two other spot-related VES Award categories also yielded nominations. For outstanding created environment in a live-action broadcast program or commercial, Sway Studio, Culver City, Calif., attained nominee status for Subaru Impreza's "Peel Out" directed by Gavin Bowden via the former Plum Productions for DDB New York. And for outstanding special effects in a broadcast program or commercial, Full Scale Effects, North Hollywood, earned a nomination on the strength of Lexus "Hydrant" directed by Nicolai Fuglsig of bicoastal/international MJZ for Team One Advertising, El Segundo, Calif. A52, Santa Monica, also contributed effects to "Hydrant," which was part of Lexus' "Actively Safe" campaign....
Creativity-Online.com, Jan. 7, 2008: The Latest: Monster: Slots
Avoid the monotony of the work commute.
Boards Online, Jan. 7, 2008: Monster: Slots
BBDO, New York and Frank Budgen create an urban metaphor for job site Monster.
My Predictions, Jan. 7, 2008: Monster by BBDO NY. Your Calling is Calling.
Monster - Slots. Agency: BBDO New York - Chief Creative Officer: David Lubars - Executive Creative Director: Eric Silver - Art Director: Richard Ardito / Jerome Marucci - Copywriter: Grant Smith - Sr. Producer: Ed Zazzera / Jeff Beverly - Music Director: Rani Vaz - Prod: Gorgeous Enterprises - Director: Frank Budgen - Producer: Alicia Richards - DP: John Mathieson - EDITORIAL: ROCK PAPER SCISSORS - Editor: Angus Wall - VFX: A52 - Executive Producer: Linda Carlson - Producer: Scott Boyajan - VFX Supervisor: Patrick Murphy - 3D Supervisor: Andy Hall - MUSIC: Chemical Brothers "Dream On".
ArtoftheTitle.com, Dec. 21, 2007
Deadwood
Title Design: a52
Adland, Dec. 15, 2007
Lexus - Pop Up (2007) 0:30 (USA)
Agency: Team One. Visual Effects: a52....
SHOOT Magazine, Dec. 7, 2007
Industry Artisans: Visual Effects And Postproduction Pros Make Their Mark On Notable Work
Holmedal and Irwin then turned their attention to the six-foot tall pop-up book, shooting it opening and closing and capturing the animated movements within the pages. All of the elements were later married together at a52. VFX supervisor Andy Hall and lead Flame artist Raul Ortego, both of a52, likened working on the project to putting together a giant puzzle with moving parts. Hall says that the Lexus project was the most challenging spot he's worked on in 2007, and pointed out that overall the most pressing issue the industry continues to face is one of expectation, in terms of time and resources. "Smaller teams are needed but with great productivity because of the financial constraints that significantly affect the way the resources are distributed," Hall relates...
shots, Nov., 2007
Directors heed Murphy's laws
Having picked up the tricks of the trade through spells at Red Post and LA outfit a52, Pat Murphy has carved out a niche for himself as a post-production maestro who can quickly tap into a director's vision and give a shoot a unique tone. Sam Mitchell asks where his inspiration comes from....
BusinessWire.com, Nov. 29, 2007
National Guard Launches Innovative Film Campaign in Theatres Nationwide, Announces LM&O Advertising
Following the successful October premiere of its 3:30 minute pre-movie recruitment film entitled “Citizen Soldier,” the Army National Guard will roll out the second phase of the nationwide theatre campaign tomorrow, on Friday, November 30, with a broad array of innovative and interactive advertising components to complement the film. The announcement was made by Andy Blenkle, supervisor of the Army National Guard recruitment account for LM&O Advertising, Inc., a full-service advertising agency headquartered in Arlington, Virginia. LM&O’s creative and media departments handled the multi-faceted integrated marketing project.... “This is truly a groundbreaking film and campaign, not only for military advertising, but advertising period,” said LM&O Senior Vice President and Creative Director, Dave Marinaccio, who conceived, developed and managed the production.... For “Citizen Soldier,” Marinaccio contracted Antoine Fuqua, the director of “Training Day” which earned Denzel Washington an Academy Award; A52, a special effects shop known for its work in music videos and HBO series; and Company 3, the film colorists behind the three “Pirates of the Caribbean” movies and “300.”
Creativity-Online.com, Nov. 12, 2007
Lexus: Pop-Up Book - Behind the Scenes
A52 gives us a look inside the pop up book.
Advertising Age, Nov. 12, 2007
How the Ad World's Dealing With the Decline of the :30
...It's increasingly clear that Madison Avenue isn't the Easy Street it once was. Shops are being forced to make do with less, forcing wholesale changes in the TV-commercial- production business. "This year has been hard," said Mark Tobin, managing director and executive producer at a52, a visual-effects and design company that has serviced clients such as Lexus, EA Sports and Nike. "Budgets have been seriously cut and reapportioned into different areas. We have to find ways to make more with less."...
SHOOT Magazine, Nov. 9, 2007
Top Spot of the Week: Stylewar, a52 Author Mega Pop-Up Book To Illustrate Safety For Lexus
While director Oskar Holmedal of the directing collective Stylewar, which is represented by bicoastal Smuggler, has always loved pop-up books and has quite a few in his collection, never in his wildest imagination did he ever think he would actually construct one. But he has made a pop-up book—and a rather awesome one—with the assistance of the artisans from a52, Santa Monica, Calif. The book is featured in the aptly titled :30 "Pop-Up," a commercial created by agency Team One, El Segundo, Calif., for its client Lexus....
Adland, Nov. 3, 2007
Honda Fit - Gas Milage (2007) 0:15 (USA)
Honda Fit - Eyes (2007) 0:15 (USA)
Award-winning visual effects design company a52 today detailed two new :15 animated spots the company has created under the direction of its 3D/VFX supervisor Andy Hall for advertising agency RPA. The spots, entitled "Eyes" and "Gas Mileage," debuted this week on cable,and will break online on Oct. 8 on U.S.-targeted metro funky and mainstream newspaper sites....
BestAdsonTV.com, Oct. 28, 2007
Pop-Up
"Pop-Up" uses a 30-foot pop-up book to tell "the Story of the safest accident." In the spirit of Team One LA's Actively Safe campaign which debuted its first elements earlier this year, the safest accident is the one that never happens. As explained by Jon Pearce, Team One's creative director on the campaign along with Gavin Lester, "a52 was immensely important in conveying the ‘reality' of a giant pop-up book. We wanted the spot to feel as real as possible....
VFXTalk, Oct. 24, 2007
Team One's Lexus "Pop-Up" Spot Comes Together at a52
Award-winning visual effects design company a52 today detailed its role in bringing a sensational new ad to life for advertising agency Team One and the 2008 Lexus RX350. The spot entitled "Pop-Up" was directed by Stylewar through Hollywood production company Smuggler....
Digital Arts Magazine, Oct. 25, 2007
A52 creates pop-up-style car ad
a52 today detailed its role in bringing a new ad to life for advertising agency Team One and the 2008 Lexus RX350. The spot entitled Pop-Up was directed by Stylewar through Hollywood production company Smuggler, and is set to debut in high-profile network and cable broadcast coverage this week....
Adrants.com, Oct. 24, 2007
Lexus Tells Cautionary Tale in Pop-Up Form
For its "safest accidents" effort by Team One and a52, Lexus illustrates a series of hypothetical accidents with a life-sized pop-up book and quirky music....
POST Magazine, Oct. 24, 2007
A52 MAKES LEXUS SPOT POP
...The actual pop-up book, with moving parts, was just six feet high and was then married to the greenscreen frame at A52. Flame and Smoke were used to rotoscope the different pop-up pieces, which were then composited together in Flame. For the city scene, A52's CGI artists recreated elements in Maya using high-rez stills from the shoot as textures, and tracked them to the live-action using 2d3’s Boujou for final compositing in Flame. Live-action passes of the Lexus, capturing reflections and shadows, were also combined in Flame, and virtual holes were created for the pop-up book's pages in Maya and were then tracked with Boujou. A52 artists added additional touches as well, including tabs and wheels for the book using Maya. Flame was used for additional reflections, titles and color grading. Autodesk Smoke handled final assembly....
Motionographer.com, Oct. 23, 2007
Lexus Pop Up
Just when you thought pop up ads could not be done again, agency Team One along with Stylewar as director came up with a whole new way to do it..just make it really really big! They went to vfx house A52 to pull this difficult task off. The spot looks to be shot live with a real pop up book but as Jon Pearce of Team One explains, “the book could have been built that large, but the weight of the pop-up extensions would have been too great, and turning the pages on a book that large at a rate that could accommodate a 30-second spot was problematic”....
Creativity-Online.com, Oct. 17, 2007
Lexus Pops Off
...Yeah, "a matter of putting it together" is somewhat of an understatement. It looks practical and the better A52 and the editor did their job, the less visible their work actually is. It's a bit thankless. But they made it so realistic you can hardly tell there is a lot of CG going on. They did things like keeping the wire in at the top of the page, which were used to turn the pages, and they added some air pockets and kept some of the imperfections in there so the pages looked like they moved and sat naturally....
SHOOTonline's iSPOT, Oct. 17, 2007
iSPOT of the Week: Honda Fit Attracts Eyeballs In Animated Video Created by RPA, a52
The 2008 Honda Fit may be small in size but it's big on looks. RPA, Santa Monica wanted to express that in a quirky way and accomplished that with "Eyes," a 15-second animated spot created by a52, Santa Monica's Andy Hall for online distribution that was released last week. In the broadband video, viewers are taken into a surreal world where gigantic eyeballs chase cars through empty streets. A voiceover says "Speedy eye-catcher. The Fit from Honda; the Fit is go." In addition to creating a compelling story in 15 seconds, one of the other challenges was to maintain a visual style that was introduced last year in a spot titled "Food Chain" when the Fit was first unveiled to consumers. The spot featured cars eating other cars and at the end the Fit eats a huge SUV, related Curt Johnson, associate creative director/art director. RPA. "The city in the background was created by a52 so we had the idea for the rolling eyeball spot this year to actually put this car chase on the streets of that city that they had created," Johnson said....
Adweek, Oct. 16, 2007
Ad of the Day: Lexus Hits the 'Sweet Spot'
...Not only is it a fresh, smart way to demo the moves that the new sports sedan with a more powerful engine is capable of, but it also seems to be a bit self-deprecating about the hoity-toity markers of quiet class and elegance that defined previous Lexus commercials. Altogether, the effect is sophisticated and as badass as you can get in a good-natured way....
Adrants.com, Oct. 16, 2007
Lexus Winks: Even Classy Cars Have Naughty Streaks
...The spot, which debuted this evening during Boston Legal, is brought to you by Team One Advertising, LA, and visual effects firm a52. We wish Lexus would try being funny more often....
Boards Online, Oct. 16, 2007
Lexus: Etiquette
A Lexus acts up. Visual Effects Company: A52, Santa Monica, CA. Executive Producer: Mark Tobin. Producer: Sarah Haynes. On-Set Visual Effects Supervisor: Andrew Hall. Lead Flame Artists: Tim Bird. Vfx Artist: Mike Bliss. Cgi Artist: Max Ulichney.
Creativity-Online.com, Oct. 16, 2007
The Latest: Pop-Up Book
Stylewar helps Lexus keep up with its moving landscapes. VFX Company: a52. VFX Supervisor: Andy Hall. Lead Flame Artist: Raul Ortego. Executive Producer (VFX): Mark Tobin. Producer (VFX): Sarah Haynes.
Brandweek, Oct. 15, 2007
Lexus Tweaks Audi in Latest Spots
...The spot, via Team One, El Segundo, and special effects company a52, Santa Monica, Calif., is a poke at Audi’s ads for the A4 that poke fun at the Lexus technology that allows a car to park itself. In those ads, the tagline claims it is the “the luxury car for people who can park themselves."...
Creativity-Online.com, Oct. 8, 2007
The Latest: Lexus: Slice
Lexus details served up in slices. Editorial Company: Rock Paper Scissors. Editor: Noah Herzog. VFX: A52. On-set VFX Supervisor: Tim Bird. Flame Artist: Pat Murphy,
Scott Johnson. VFX Producer: Pete King.
Digital Arts Magazine, Oct. 8, 2007
A52 builds full-CG Honda spots
"The assignment from the agency was to create two 15-second spots for the Internet, based upon story boards they had for the Honda Fit campaign," Hall explained. "From there, I was given a lot of freedom in terms of style and choices, which really made them a challenge."...
StudioDaily.com, Oct. 8, 2007
Top Spot of the Week: Honda "Eyes"
Honda Fit Attracts Eyeballs, Touts Fuel Efficiency in New Animated :15 Spots from Ad Agency RPA, a52 and Director Andy Hall....
Adrants.com, Oct. 5, 2007
Honda Goes Fit with Comic Book Headlines, Robot Tones and Fast Wit
...these retro-vibing :15 spots for the Honda Fit manage to be quick and informative with a witty -- but thankfully minimalist -- "WTF?" aspect. Eyes was like a speedy sci-fi take on the Nissan Rogue ad, which also debuted just recently. And Gas Mileage, while slightly less memorable, maintains the campaign's pace and says everything it needs to without tempting you to push fast-forward. a52 produced the spots for agency RPA out of Santa Monica, CA.
MediaPost's Marketing Daily, Oct. 5, 2007
Honda Merges Tough With Classy For New Ridgeline Ads
...In a testament to the increasingly media-agnostic nature of video advertising assets, Honda is also breaking a pair of new ads on TV that were produced for the Internet. The ads, for Honda's Fit subcompact, are animated 15-second spots created by L.A.-based visual effects and design company A52. The agency, which is known for special effects on TV and films, has done work for Honda on Fit and Ridgeline under the aegis of RPA. According to A52 computer graphics chief Andy Hall, who directed the ads, RPA gave the firm free rein on the new ads, which are animated extensions of Honda's "Fit Is Go" effort. The ads break this week on cable and will go online on Monday on offbeat regional magazine sites. The agency produced the spots in HD format--even though the ads were originally intended to be online only. Hall says the agency's assignment was to make two 15-second spots for the Internet, based on RPA storyboards. One of the two ads has Fit racing through an urban landscape, chased by three gigantic eyeballs. The car finally careens into a tunnel that is a little too small for the eyes, one of which gets stuck at the entrance. "Eye Catching," says the headline. The agency--and Hall--directed Honda's ad for the Ridgeline that ran during Super Bowl XL, as well as last year's effort for the Fit....
Adweek, Oct. 3, 2007
Ad of the Day: Honda's Fit Shapes Up Nicely
The Honda Fit is eye-catching, literally. At least, that's the idea behind this fun new energetic spot from RPA in Santa Monica, Calif. The car is barreling down the streets of a futuristic city to the sounds of techno music in what could be a scene out of a car racing videogame. In hot pursuit, giant eyeballs that are apparently so drawn to the "Speedy Eye-Catcher!," as noted by a robotic voiceover and the onscreen copy, that they race after it, trailing behind like billiard balls behind the speed racer. The action-packed chase and the moving bloodshot eyeballs do hold a viewer's attention and the attitude is spot-on for the young target market Honda's after with the Fit. The spot ends with one of the eyeballs getting caught in a tunnel and the tagline "The Fit is go!"
Boards Online, Oct. 2, 2007
Honda Fit: Eyes
Never roll your eyes at a passing Honda Fit. Production Company: a52, Santa Monica. Director: Andrew Hall.
SourceEcreative Newsletter, Sep. 3, 2007
Member News from Around the World
Burlington, Vermont-based agency Kelliher Samets Volk recently turned to Backyard Productions director Ericson Core for a set of three thoughtful :30 image spots for wireless provider Unicel. The ads Destination, Inspiration, and Lost, feature a free-roaming balloon as it wanders through urban and rural landscapes, visually driving home the campaign's tagline: Unicel: The way wireless should be. Others lending their skills included Backyard EP Peter Steinzeig, Beast editor Igor Kovalik, and A52 artist DanielGutierrez & Max Ulichney, executive producer Mark Tobin, Flame artist Kirk Balden, and VFX supervisor Andy Hall.
AdLand, Aug. 28, 2007
Unicel - Lost (2007) 0:30 (USA)
Unicel - Inspiration (2007) 0:30 (USA)
Unicel - Destination (2007) 0:30 (USA)
VFX/ANIMATION/FINISHING COMPANY: a52. CITY/STATE: Santa Monica, CA. EXECUTIVE PRODUCER: Mark Tobin. PRODUCER: Sarah Haynes. VFX/3D SUPERVISOR: Andrew Hall. FLAME ARTIST: Kirk Balden. CGI ARTISTS: Max Ulichney, Dan Gutierrez, Paulo de Almada....
Adrants.com, Aug. 15, 2007
HBO Gets All Oblique on Our Asses with New -- er, Axed 'John from Cincinnati' Series
You may want to watch out for the deceptively simple-seeming John from Cincinnati - even if it's just to see the main title sequence, whose creative director, Angus Wall, was also behind Big Love, Rome and Carnivale. A collaboration between Rock Paper Scissors and A52, the opening is unique in that it gives nothing away (not even main characters!), leaving us stewing in feelings of surfer's nostalgia and little more...
POST Magazine, Aug. 14, 2007
ROCK PAPER SCISSORS POSTS 'JOHN FROM CINCINNATI' OPEN
According to the series' executive producer Gregg D. Fienberg, the open needed "to carry off some sort of a sense of exuberance without trying to explain in any way what the essence of the show was about. A David Milch show shifts and grows along the way and any attempt in a main title to convey more than a feeling would most likely go off the rails sometime during the life of the series. Ultimately, even though our show seems very dark and dreary at first, at its core is a celebration of the exuberance of life. Angus and his team captured that."...
SourceEcreative Newsletter, Aug. 1, 2007
Member News from Around the World
HBO once again turned to Angus Wall to design and produce the main titles for its newest series, John From Cincinnati. The feature film editor is the owner of editorial company Rock Paper Scissors - and the creative director behind the main title sequences for HBO's original series Carnivale, "Deadwood," Rome, and "Big Love." For John from Cincinnati, A52's producer Sarah Haynes and on-set visual effects supervisor Andy Hall spent a day at Imperial Beach filming the show's stunt surfers. RPS editor David Brodie worked closely with Wall to combine the new footage with stock images and surf footage licensed from epic surfing films including Bruce Brown's world-famous 1966 documentary, "Endless Summer." Inferno artist Raul Ortego then effected the finished edit to give it a vintage look, and added the titles.
3D World, July, 2007
How to Become a Studio Star: Andy Hall, A52
Many artists see advertising agencies as, at best, an occupational hazard, and at worst, an active impediment to their work. In contrast, A52's Andy Hall believes that they can be a positive spur to creativity....
Animation World Magazine, July 31, 2007
Hot Spots Showcase 5: The Best in Animated & VFX Commercials
For the past five years, AWN has put out a call to its readers working in commercials to share their work. Each year the showcase is filled with innovative, funny and eye-popping spots. This year is no exception. It is a collection of commercials representing the best, and diverse, work these production houses are doing. These are ads you definitely don't want to skip past....
SourceEcreative Newsletter, July 2, 2007
Member News from Around the World
A52's artists recently had the pleasure of producing an all-CGI spot for Nike Golf via Wieden+Kennedy. Working with the agency's creative group, namely creative director Hal Curtis, art director James Moslander and producer Ben Grylewicz, A52's Andy Hall served as VFX/3D supervisor on the spot. Utilizing photoreal animation, the commercial announced a promotion offering Nike One golf ball buyers the chance to win a game of golf with Tiger Woods. Other A52ers included producer Scott Boyajan, Flame artist Stafan Gaillot, and 3D artist Max Ulichney. The spot debuted on June 16 during broadcast coverage of the U.S. Open.
Duncan's TV Ad Land, June 9, 2007
Reebok Run Easy at Speed of Chat
...Visual effects were done at A52 by lead VFX/Flame artist Tim Bird, compositors Justin Blaustein, Mike Bliss, executive producer Mark Tobin, producer Heather Johann....
SourceEcreative Newsletter, June 5, 2007
Member News from Around the World
Don't you just love it when inanimate objects are animated with personality? (Me too.) Directed by Bruce Dowad of tight for Draft FCB, the :30 Fig Newtons spot entitled Market brings the famous cookies to life -- via the VFX and CGI artistry of A52. The cinematic spot features animated Fig Newtons appearing in a live-action world, with the cookies escaping cookie jars in homes and packages in grocery stores to march en masse to a country fruit market and settle into fruit barrels. Discovered there the next morning, the voiceover relates, "Fig Newtons: Packed with that real fruit taste, it's the cookie that thinks it's a fruit." Talents abounded from tight EP Jonathan Ker and producer Jeremy Barrett, RMI composer Robert Miller, and A52ers - EP Mark Tobin, VFX producer Sarah Haynes, on-set VFX supervisors Andy Hall & Raul Ortego, Flame artist Mike Bliss, Inferno artist Raul Ortego, and CGI artists Max Ulichney, Kirk Shintani, Dan Guiterrez, & Paulo de Almada.
Taxi Design Network, June 5, 2007
A52 Pursues Broadcast Perfection for Lexus
...A52's project visual effects supervisor Kirk Balden calls the spot's end footage of the running LS 600h L a "triumph of digital technology."...
Dexigner.com, June 3, 2007
A52 Pursues Broadcast Perfection for Lexus
Los Angeles visual effects design company A52 today detailed its contributions to the latest broadcast campaign from the creatives at advertising agency Team One, and Gorgeous Enterprises/Anonymous Content director Peter Thwaites, for Lexus....
Studio Daily, May 24, 2007
Five Questions with... VFX artist Kirk Balden, A52
VFX artist Kirk Balden of A52 steps up to answer five questions...
Adwired.com, May 23, 2007
Headliner: Fig Newton "Market"
Directed by Tight Films' Bruce Dowad for Draft FCB, this charming spot features animation and visual effects from A52.
SourceEcreative Newsletter, May 22, 2007
Member News from Around the World
The latest campaign from the creatives at advertising agency Team One, Anonymous Content and director Peter Thwaites, is for lucky client Lexus. The first three spots featured recording artists Diana Krall, Elvis Costello and John Legend commenting on music as they savored it from inside a Lexus. The latest, Fast Reimagined and Instinct, feature the all-new 2008 Lexus LS 600h L Hybrid Sedan, and an impending crash of a Lexus with a pickup truck in a busy metropolitan intersection, respectively. Others weighing in were Anonymous EP Cassie Hulen, Company 3 colorist Stefan Sonnenfeld, Rock Paper Scissors editor Adam Pertofsky and visual effects team A52. Also in from the company is this excellent green campaign for SOS’ Movement for a Climate in Crisis where Frank Budgen steps up to show the overarching emotional impact of global warming. A cacophony of sounds in Morse Code dots and dashes, created by humans and animals, crescendo to a powerful climax. Also lending their skills were Anonymous EP Cassie Hulen, Rock Paper Scissors Angus Wall & Brad Waskewich, and Human Music & Sound Design.
SHOOT, May 18, 2007
Top Spot of the Week: Traveler's "Luck"
Visual Effects: A52.
fxguide, May 17, 2007
A52 Pursues Broadcast Perfection for Lexus
Los Angeles visual effects design company A52 today detailed its contributions to the latest broadcast campaign from the creatives at advertising agency Team One, and Gorgeous Enterprises/ Anonymous Content director Peter Thwaites, for Lexus....
Boards Online, May 15, 2007
Lexus "Fast Reimagined"
Lexus "Instinct"
Gorgeous' Peter Thwaites speeds up and hits the brakes for this Lexus campaign. VISUAL EFFECTS COMPANY: A52.
Shots, May 15, 2007
Contender: Live Earth: Save Our Selves
Post Production: A52
Shots, May 15, 2007
Contender: Travelers Insurance: Lucky
VFX: A52
Shots, May 15, 2007
CUT & PASTE
Gorgeous director Peter Thwaites does some nice things with slow motion and damage limitation for Lexus with some tight post work by the artists at Rock Paper Scissors and A52...
VFXTalk.com, May 15, 2007
A52 Pursues Broadcast Perfection For Lexus With Team One
For the campaign’s five :30 spots, Team One’s credits include executive creative directors Chris Graves and Jon Pearce, creative director Phillip Squier (“Instinct”), copywriter John Hage (“Instinct”) and executive producer Jack Epsteen....
Adweek, May 14, 2007
Best Spots of April, 2007: Traveler's "Risk"
Special Effects/Titles: Patrick Murphy/A52, Los Angeles
SHOOT, May 11, 2007
Top Spot of the Week: Reebok "Run Easy"
Visual Effects: A52. Tim Bird, lead VFX/Flame artist; Justin Blaustein, Mike Bliss, compositors; Mark Tobin, executive producer; Heather Johann, producer.
AdCritic.com, May 9, 2007
Spot of the Day: SOS
Visual Effects: A52 - Los Angeles. VFX Producer: Heather Johann. VFX Artist: Tim Bird, Raul Ortego.
AdCritic.com, Mar. 9, 2007
Lexus - Instinct
Visual Effects: A52 - Los Angeles. VFX Producer: Pete King. VFX Supervisor: Kirk Balden. CG Supervisor: Kirk Shintani.
Boards, April, 2007
Ad land's do-gooders...
the judges for this year's First Boards Awards did a great job coming up with our list of the most promising new talent. As usual, we coyly coerced them into committing hours upon hours to the task, and for that we thank them.... 2007 JUDGES: Andy Hall (A52, LA).
SHOOT, Apr. 27, 2007
Getting Real: VFX Attain Realism, Drive Stories
...To deliver a modern take on the famous "Odessa Steps" sequence from Sergei Eisenstein's Battleship Potemkin in the new Coke spot out of Wieden + Kennedy, Portland, Ore., West Hollywood-based A52's photoreal CGI and seamless VFX artistry played important roles. In the spot, a man running through a train station bumps into another man, who just opened his bottle of coke. The Coke bottle cap flies out of his hand and begins bouncing down the steps. In despair, he watches it tumble, and then envisions it as the flat screen TV he longs to have when he earns enough My CokeRewards points. The bouncing cap morphs into other objects that onlookers are fantasizing about when they see the cap cascading by. When it rolls to a halt, a crowd of people race to it. When A52 started the project, the VFX team was only supposed to create CGI Coke bottle caps bouncing down the steps. The other tumbling elements (flat screen monitor, guitar, paintball gun, vintage Coke cooler, golf clubs, DVDs, and rubber dog toy) were supposed to be in-camera. But director Jason Smith of Bob Industries, Santa Monica, decided to shoot them as separate passes for control and safety issues. A52 re-created all the falling elements but one in CGI to achieve the desired angle and trajectory or to add in a specific prop that production hadn't been able to obtain. "In the final piece every shot has some visual effects from simple clean up to rebuilding whole shots in post," says Andy Hall, visual effects supervisor. The CGI team included Kirk Shintani, Paulo de Almada and Chris Janney. Patrick Murphy, visual effects supervisor and Inferno/Flame artist, and Hall choreographed the objects to create a continuous tumbling, bouncing movement from beginning to end of the spot. Each CGI element went up to Murphy in Inferno to see them in context of the individual shot and the spot as a whole. There was a lot of back and forth to achieve a continuous tumbling, bouncing movement through the entire spot. In addition to Inferno the team relied on Maya, mental ray and Shake. "The biggest challenges were the time constraints on the job, creating continuity of action that communicated the idea of these people seeing their own rewards tumbling down the stairs and taking a variety of very different objects and creating a continuous and believable action throughout the spot," Hall relates....
AdCritic.com, Apr. 18, 2007
Spot of the Day: Reebok - Run Easy
Post Effects: A52 - Los Angeles; Executive Producer (Effects): Mark Tobin; Lead VFX Artist: Tim Bird.
SourceEcreative, Apr. 4, 2007
VFX Artist Raul Ortego Revisits His First Year at A52…
Los Angeles visual effects design company A52 was launched in 1995 as a boutique – where ad agency creatives, directors and other industry talents could go to work directly with extraordinary visual effects artists in a casual setting. At this time last year, executive producer Mark Tobin added international VFX artist Raul Ortego to the roster, keeping with the company’s vision, and never looking back on his decision....
3D World, March, 2007
Fish Food
A spot for US mobile service Helio features lifelike creature effects courtesy of LA VFX studio A52, including a realistic sequence where a whale engulfs a female diver. A52 modelled, textured, animated and lit the whale, as well as a school of fish that appears throughout the spot using Maya for animation and mental ray for rendering. "As the actors were shot in a pool, there was a challenge in the way that we had to handle the sea water colour correction," said lead Inferno artist Raul Ortego. "We had to make it appear realistic, while also making the actors appear very clearly." www.A52.com
CG Magazine (China), March, 2007
Oversea VFX Express: Bud Light "Snowed In"
CG Magazine (China), March, 2007
Pixilation: Honda Civic "Freedom"
Videography, March, 2007
Crime Scenes and Compression Schemes: The File-Based Workflow for David Fincher's Zodiac
Another effects vendor that received DPX files from the production team was Los Angeles-based A52. At one point in the film, the narrative takes the form of a hypnotic montage, artistically drawing together the letters and clues the serial killer provided to investigators. After receiving input from Wall on Fincher's vision for the sequence, high-resolution scans were taken of the actual letters from the Zodiac killer. "It seemed early on that the process required a strong collaboration between 2D and 3D to really capture the level of detail that David was looking for," explains A52 VFX co-supervisor Andy Hall. According to A52's Sarah Haynes, the raw live-action Viper footage for the sequence was provided to A52 on a portable hard drive in the form of DPX files. After A52's work was completed, the sequence was output as DPX files and sent to Technicolor, where it was colored by Stephen Nakamura and mastered as part of the film's digital intermediate....
International designers Network (Hong Kong), 2006/7. Six. Volume 13. Number 5.
TV Commercial
Acura Anthem & Tech by A52
Microsoft Xbox Cops and Robbers by A52
SHOOT, Mar. 16, 2007
Top Spot of the Week: Lexus' "Hospital"
West Hollywood-based A52 handled visual effects which entailed some beauty clean-up and the seamless combination of multiple telecine passes....
Videography, Mar. 15, 2007
Crime Scenes and Compression Schemes: The File-Based Workflow for David Fincher's Zodiac
Like other pioneering HD feature directors such as Michael Mann, George Lucas, James Cameron and Robert Rodriguez, David Fincher has said goodbye to film and embraced high-definition video as his capture medium of choice.... Another effects vendor that received DPX files from the production team was Los Angeles-based A52. At one point in the film, the narrative takes the form of a hypnotic montage, artistically drawing together the letters and clues the serial killer provided to investigators. After receiving input from Wall on Fincher's vision for the sequence, high-resolution scans were taken of the actual letters from the Zodiac killer. "It seemed early on that the process required a strong collaboration between 2D and 3D to really capture the level of detail that David was looking for," explains A52 VFX co-supervisor Andy Hall. According to A52's Sarah Haynes, the raw live-action Viper footage for the sequence was provided to A52 on a portable hard drive in the form of DPX files. After A52's work was completed, the sequence was output as DPX files and sent to Technicolor, where it was colored by Stephen Nakamura and mastered as part of the film's digital intermediate....
Digit, Mar. 14, 2007
A52 builds montage for Fincher's Zodiac
"This was a perfect job for A52," Angus Wall said, "as it called for great design and the ability to take a concept and run with it. Andy, Kirk, Max and Pat really delivered, far exceeding expectations for the sequence. As one of the only purely visual flourishes in the movie, it's a rare blend of content and style...."
FXGuide.com, Mar. 14, 2007
A52 key story montage for Zodiac
...For A52, the team consisted of VFX co-supervisors Andy Hall and Pat Murphy, 3D animators Kirk Shintani and Max Ulichney, producer Sarah Haynes, and executive producer Mark Tobin. After receiving extensive input from Wall on Fincher's vision for the sequence, high-resolution scans were taken of the actual letters from the Zodiac killer. "It seemed early on that the process required a strong collaboration between 2D and 3D to really capture the level of detail that David was looking for," explained Andy Hall. "Working with Maya and Mental Ray, the letters were reconstructed so the camera could literally travel into the fibers of the paper."...
VFXTalk.com, Mar. 14, 2007
A52 uses CGI and Visual Effects to Create Key Story Montage for "Zodiac"
At a key moment in “Zodiac,” director David Fincher’s historical dramatic thriller which opened in theaters nationwide earlier this month, the narrative takes the form of a hypnotic montage, artistically drawing together the letters and clues a serial killer has provided to investigators at a time when the officers must repeatedly return to the offices of the San Francisco Chronicle. To create that sequence, Fincher and his collaborators, including editor Angus Wall, turned to the talented artists at LA visual effects design company A52....
AdCritic.com, Mar. 7, 2007
Spot of the Day: Lexus - Hydrant
The Latest: Lexus - Hospital
Visual Effects: A52 - Los Angeles. VFX Producer: Jenny Bright. Flame Artist: Patrick Murphy, Kirk Balden.
Adrants, Mar. 4, 2007
Lexus Says Safest Accidents Are Ones That Never Happen
Historically shunned but acknowledged more and more every year by car markers is the inevitable fact car accidents happen. Following VW's most recent entry with its dramatic crash ads comes this work by Team One and visual effects company A52 for Lexus in which an interesting approach is taken to illustrate the ability of Lexus vehicles to help you avoid accidents. Each of the two spots takes a reverse look at an accident and, through a set change, takes us from the accident to a world in which the accident never occurs.... Comment: Credits where very much due to director Nicolai Fuglsig, DP Salvatore Totino, MJZ EP Lisa Rich, line producer Emma Wilcockson, production designer Floyd Albee, SFX supervisor Dave Peterson, stylist Aimee Acord, editor David Henegar of Butcher Edit, colorist Stefan at CO3 and the teams at Robot Repair (music) and Juice West (final mix). Bravo!
StudioDaily, Mar. 1, 2007
Five Questions with... Tim Bird, VFX artist, A52
Tim Bird, VFX artist at A52, steps up to answer Five Questions and discuss his most recent work on the Bud Light spot "Snowed In" via DDB Chicago....
CG Magazine (China), February, 2007
Oversea VFX Express: Helio "Scuba Time"
Digit, Feb. 16, 2007
A52 sees square for Nike Golf
LA-based VFX company A52 has contributed to a series of spots for Nike Golf commissioned by Wieden+Kennedy...
Boards Online, Feb. 15, 2006
Nike Golf "See Square"
Nike Golf "Tour Dominance"
Smuggler's David Frankham gives golf a new dimension for Nike. VISUAL EFFECTS COMPANY: A52. EXECUTIVE PRODUCER: Mark Tobin. PRODUCER: Sarah Haynes. ON-SET VISUAL EFFECTS SUPERVISOR: Raul Ortego. VISUAL EFFECTS SUPERVISOR: Raul Ortego. INFERNO ARTISTS: Raul Ortego, Kirk Balden, Justin Blaustein.
MATTE PAINTERS: Brandon Jolley, Helen Maier, Max Ulichney. 3D SUPERVISOR: Andy Hall. 3D ANIMATORS: Paulo de Almada, Kirk Shintani, Max Ulichney.
AdCritic.com, Feb. 15, 2007
Spot of the Day: Cherry Coke - Downpour
VFX: A52 - Los Angeles. VFX Artist: Tim Bird.
CG Magazine (China), January, 2007
Oversea VFX Express: Honda Civic Freedom
Videography, January, 2007
Zodiac: Solving Tapeless Mysteries
...Like Fincher, Angus Wall is not a typical film editor. In 1992, Wall and Linda Carlson founded Rock Paper Scissors, a West Hollywood creative editorial house known for its commercial work for such clients as BMW, HP and Nike. Later, in 1997, they set up visual effects house A52....
SHOOT, Jan. 12, 2007
Post Reaction to Autodesk Restructuring
...Kirk Balden, Flame and Smoke artist at L.A.-based A52, says, "There are executives...and development people that will be missed, who have been with the product almost since the beginning. Those are the people who knew the backbone of the software and we were able to talk to one on one. That's the worrisome part."....
3D World, December, 2006
A52 Puts Pioneer Through Its Paces
Set inside a futuristic testing facility, the HD resolution and fully CG spot "Orbit", from A52 for Pioneer, sees numerous chrome balls get pulled into gravitational alignment when the TV displays the image of a planet. Meanwhile, the second spot, "Wind Tunnel", features smoke flowing round the hyper-realistic image of a Formula One car. "We wanted no one to be able to distringush between live-action cinematography or CGI," said A52's VFX/CG Supervisor Andy Hall. Maya was used for animation, Shake and Inferno for compositing, while rendering was completed in mental ray. www.A52.com.
Communication Arts, December, 2006
Advertising Annual: Television Commercials: "Kid Tiger" "60
Patrick Murphy, A52, artist. Mark Tobin, A52, executive producer. April Killingsworth, A52, visual effects producer. A52 (Los Angeles, CA), post production company.
International designers Network (Hong Kong), 2006. Five. Volume 13. Number 5.
TV Commercial
Wind Tunnel & Orbit by A52
Videography, December, 2006
A52 Goes Deep for Helio
Los Angeles visual effects company A52 contributed CG and visual effects work to a broadcast spot for agency Deutsch/LA and its youth-focused mobile service client, Helio...
Digital Producer's Briefing Room, Dec. 20, 2006
A52 Goes Deep for Helio, Deutsch/LA and Moxie Pictures’ Jared Hess
...“The simple ideas always seem the hardest to pull off,” added Jennifer Parke, VP/Group Creative Director. “A52 and the entire team made the very complex process of a whale eating a girl look so simple.”...
Boards Online, Dec. 8, 2006
Helio - Scuba Time
A woman becomes whale food in this spot for mobile service provider Helio. VISUAL EFFECTS COMPANY: A52...
CGNews, Dec. 8, 2006
A52 Goes Deep with Moxie Pictures for Helio
...“A52 really brought this concept to life,” said Nate Morley, VP/Group Creative Director at Deutsch. “The work they did on the whale, the color and the environment helped us take this spot to another level.”...
VFXTalk, Dec. 8, 2006
A52 Goes Deep with Moxie Pictures for Helio
...A52’s team, including VFX supervisor Patrick Murphy, VFX producer Sarah Haynes, CGI supervisor Andy Hall, lead Inferno artist Raul Ortego and others worked closely with the agency and production teams – including Hess, line producer Laura Heflin and director of photography Munn Powell – to determine what needed to be shot during the project’s single day of location production, which was filmed at the Olympic Training Center in Salt Lake City, Utah....
Digit, Dec. 7, 2006
A52 dives for Jared Hess commercial
VFX house A52 has worked on a commercial directed by Napoleon Dynamite-helmer Jared Hess. The spot, entitled Scuba Time, is for mobile phone builder Helio. The action is set deep in the ocean, where a diver is found by his buddy, who used the Buddy Beacon service on his Helio device to track his friend down on a spear-fishing expedition. When a young woman swims up to the pair and comments on the device, she is soon engulfed by an enormous whale, leaving the second diver to comment, “She shouldn’t have called it a phone!”...
Ventilate, Dec. 7, 2006
A52 : HELIO ‘SCUBA TIME’
I recently saw this on tv: A52’s latest project, a funny commercial for Helio , directed by Napoleon Dynamite’s Jared Hess of Moxie Pictures. Live action was shot at the Olympic Training Center in Salt Lake City. A52 used Maya and Mental Ray for CG. You can view some of the CG development at Darnell Works’ site....
Digital Producer, Dec. 6, 2006
A52 Goes Deep with Moxie Pictures' Jared Hess for Deutsch/LA and Helio
Moving forward with the live-action footage of the divers, A52's post-production work began. Under Andy Hall's supervision, A52's CGI team of Paulo de Almada and Dan Gutierrez modeled, textured, colored, animated and lit the "hero" whale, as well as a school of fish that appears throughout the spot, using Maya for the animation, and Mental Ray for rendering. From there, Raul Ortego artistically composited-in the coral reef and appropriate screens for the Helio device, while also adding the CG fish and whale. His final touch was to color- grade the water to complete the spot's deep-sea illusion. "Because the actors were shot in a pool," Ortego explained, "there was a challenge in the way that we had to handle the sea water color-correction, to make it appear realistic, while also making the actors appear very clearly."...
Shots, Nov. 22, 2006
CUT & PASTE
A52 visual effects artist Kirk Balden has teamed with Partizan's 24-year-old director Ace Norton for a mixed-media extravaganza of a broadcast spot conceived by the creatives of RPA. It seems you don't have to play golf and holiday in Dorset to own a Civic after all. The spot is even going to air on MTV. Marvel HERE...
Boards Online, Nov. 21, 2006
Honda Civic - Freedom
Partizan's Ace Norton mixes media mightily for the new Honda Civic. Editorial Company: Rock Paper Scissors, Los Angeles, CA; Visual Effects Company: A52, West Hollywood, CA.
Digital Producer, Nov. 20, 2006
A52 Helps Partizan's Ace Norton Inaugurate Honda Civic "Freedom" for RPA
...Featuring a fast-paced blending of stop-motion, live-action, visual effects and animation techniques edited together by Rock Paper Scissors' Brad Waskewich, the storyline features a young man driving his Honda Civic to his local voting place. Early on, the man multiplies into seven distinct versions of himself, each with a Civic of a different color. With each man casting his vote for the Civic, the voiceover confides: "Freedom is choice. The Honda Civic. Reverse your thinking."...
SHOOT, Nov. 17, 2006
Facility Execs Offer Their Insights, Advice on the HD Movement
..."In the world of commercials, those campaigns that require international and multi-standard format distribution currently stand to gain the most from HD mastering," adds Mark Tobin, managing director/executive producer of A52, Santa Monica. "At the same time, with more and more people coming to rely upon photoreal CG storytelling, the sophistication and power of the tools available to our artists are driving demand for the creation of high-impact HD spots where the quality of the imagery is an important part of the commercial message....
Adweek, Nov. 13, 2006
Best Spots of October: Burger King "Eat Like Snake"
When a man leaves his Triple Whopper momentarily unattended in a workplace lunchroom, his colleague slithers over to "eat like snake," unhinging his jaw to swallow the enormous burger in one bite.... Flame Operators: Tim Bird/A52, Los Angeles; Tom McCullough/R!OT, Santa Monica; Nick Tanner/Smoke & Mirrors, New York...
Autodesk.com, Nov. 10, 2006
Putting HD on the Spot
With a heritage of shooting 35mm film, the advertising community is no stranger to high-resolution imagery. But as more and more television viewers purchase HDTVs, there’s growing pressure for top advertising agencies and their clients to shift to High-Definition (HD) for the post production, mastering, and distribution of their commercial spots. As a leading, award-winning visual effects and design company in West Hollywood, Calif., A52 is seeing rapidly increasing demand for editing and mastering of HDTV spots from their commercial clients....
AdCritic.com, Nov. 8, 2006
The Latest: Honda - Freedom
(An aside: It's not often that we quote press releases, but it's election day and all, so here goes. "As young adults across America struggle to find their voice in the elections, the new Honda Civic spot ties into this theme by celebrating the mobility and freedom found in the vehicle.") VFX: A52 - Los Angeles. VFX Executive Producer: Mark Tobin. VFX Producer: Heather Richardson. Sound Design: 740 Sound Design - Santa Monica. Song: "Huddle Formation". Musical Artist: Go Team. VFX Supervisor/Lead Flame Artist: Kirk Balden.
AdCritic.com, Nov. 6, 2006
The Latest: XBOX 360 - Cops and Robbers
Garth Davis and McCann go big. Visual Effects: A52 - Los Angeles. Executive Producer (Effects): Mark Tobin. Lead Inferno Artist: Patrick Murphy. Inferno Artists: Justin Blaustein, Carlos Morales.
AdLand, Nov. 6, 2006
Microsoft XBox - Cops & Robbers (2006) 0:60 (USA)
Adrants.com, Nov. 6, 2006
XBox Pushes Console with Frolicky Foot-Tapping Ad
San Francisco Agency McCann-Erickson worked in tandem with a ton of talent, including director Garth Davis of Anonymous Content and editor Angus Wall of Rock Paper Scissors, to release a playful ad for Xbox entitled "Cops and Robbers" - a monicker as whimsical as the spot itself. A52 is responsible for making complex visual effects and physical logistics look like a carefree leap off a building. It's a fun watch and the clapping beat will probably be stuck in our heads all day. We much prefer it to the esoteric stuff PS3's putting out. - Contributed by Angela Natividad
One Club's Creative Showcase, Nov. 6, 2006
Xbox "Cops and Robbers"
‘Cops and Robbers’, created by McCann Erickson, San Francisco and directed by rising Australian director, Garth Davis, features three ‘robbers’ wearing ski masks running away from ‘cops’, holding what looks like a bag of stolen goods. They try to evade the cops by scaling the rooftops of buildings, taking desperate, gravity-defying leaps from buildings to window ledges and into a waiting getaway car. A car chase ensues but eventually it’s all over as the cops ‘win’ and close in on the ‘robbers’. But there’s a twist to the story as the chase is revealed to be just a mischievous game of ‘cops and robbers’ amongst friends who immediately start the countdown to begin another game....
VFXTalk.com, Nov. 4, 2006
MJZ, Rock Paper Scissors, A52 and Others Team-Up for High-Concept Spots
...A52’s Pat Murphy, who served as the project’s VFX supervisor, provided workflow details on several key scenes in “Anthem,” including the opening shot of a distant city. “That scene begins with a four-hour timelapse scene shot during the day,” he began. “Phil personally went to Company 3, where he sat with Stefan and color-corrected that piece of footage in a multitude of ways for daytime, sunset and nighttime passes.” With those passes for reference, Murphy added the CG windmills created by 3D supervisor Andy Hall’s team, shifted the light from the sky onto the ground in front of the city as day becomes night, hand-animated lights into the windows of the buildings in-sync with the turning of the windmills, and added many other subtle adjustments to complete the illusion. “The important thing is that it was a huge collaboration on everybody's part,” Murphy pointed out....
BestAdsOnTV.com, Nov. 3, 2006
Xbox 360: Cops & Robbers
the short version has been around for a couple of weeks but we wanted to wait for the 3 minute cut (!!!!). bestads. Post Prod. Co: A52. Lead Inferno Artists: Patrick Murphy. Inferno Artist: Justin Blaustein. Inferno Artist: Carlos Morales. Exec Producer: Mark Tobin. VFX Producer: Mark Kurtz.
Boards Online, Nov. 3, 2006
Xbox 360: Cops and Robbers
Don't try this at home kids. Garth Davis helms this action-packed stunt extravaganza for Xbox. Visual Effects/Finishing Company: A52. Executive Producer: Mark Tobin. Lead Inferno Artist: Patrick Murphy. Producer: Mark Kurtz. Inferno Artists: Justin Blaustein, Carlos Morales.
CGSociety Newsletter, Nov. 2, 2006
A52 and friends
A52 has detailed their contributions to spots recently developed by advertising agency RPA for Acura. One in particular, named Acura ‘Anthem’, is a 60-second cinematic treatment on life itself, rather like the Range Rover series seen elsewhere in recent months. MJZ and 'Rock, Paper Scissors' post production also make this car advert worth catching, if you can....
Computer Graphics World, October, 2006
Spotlight: 2D Animation: Lines of Communication
The look of the Microsoft "Realizing Potential" commercial campaign may be simplistic -- bold white-line animated drawings augmenting a live-action scene. But, the execution of the most recent series was rather complex, requiring a collaborative effort among five companies: Z Animationa (animation production), Anonymous Content (live action), A52 (compositing), Mad River Post (editing), and EliasArts (music)....
Videography, October, 2006
A52 Blows Back Pioneer
Los Angeles visual effects and design company A52's VFX/CG supervisor Andy Hall directed....
CGSociety.org, Oct. 27, 2006
MJZ, Rock Paper Scissors, A52 and RPA generate a fine spot for Acura
A52 has detailed their contributions to spots recently developed by advertising agency RPA for Acura. One in particular, named Acura ‘Anthem’, is a 0:60-second cinematic treatment on life itself, rather like the Range Rover series seen in recent months....
AdLand, Oct. 18, 2006
Acura - Tech (2006) 0:30 (USA)
AdLand, Oct. 18, 2006
Acura - Anthem (2006) 0:60 (USA)
Highend3D.com, Oct. 18, 2006
A52 Part of Virtuoso Talents Behind Acura “Anthem” and “Tech
...In "Anthem," A52's 3D artists created animated windmills, a satellite and clouds, and a digital wireframe of the hero car for a sketch-wireframe-car transition – and the company's effects artists handled numerous creative compositing challenges to convey the passing of time and support the spot's storyline. Challenges for "Tech" involved creating/integrating a CGI satellite, compositing a wireframe grid with live-action footage, and beautifying the final scene. ....
One Club's Creative Showcase, Oct. 17, 2006
Acura "Anthem"
"Anthem" is a :60 cinematic treatise on the brand's focus on advancing performance, technology, design, and life itself....
Feed, Oct. 16, 2006
A52 and ACURA
Here's one that's worth the sixty seconds out of your day to stop and admire: Acura "Anthem" from A52. Elegant 3D, seamless VFX, speed ramping, jump-cuts...it's another clean and simple car ad that reads like a modern filmmaker's handbook set to Supertramp...
HollywoodIndustry.com, Oct. 16, 2006
Virtuoso Talents Unite for Acura Broadcast Spots from RPA; MJZ Director Phil Joanou, Rock Paper Scissors' Adam Pertofsky, A52 and Others Team-Up for High-Concept Spots
Award-winning Los Angeles visual effects and design company A52 today detailed their contributions to two spots recently developed by advertising agency RPA for Acura. Directed by MJZ's Phil Joanou - whose feature film "Gridiron Gang" became the number one U.S. box office film for the week following its Sep. 15 opening - "Anthem" and "Tech" debuted last month, and will continue to air over the weeks ahead as part of RPA's national cross-media campaign....
AdCritic.com, Oct. 10, 2006
The Latest: Burger King - Eat Like Snake
"unhinge your jaaawww." VFX: A52, R!OT, Smoke & Mirrors
Creativity, Sept. 2006
Top Spots, Visuals: Nike "Swing Portrait"
VFX Producer: Mark Tobin, A52; VFX Artist: Kirk Balden.
AdLand, Sep. 29, 2006
Microsoft XBox - Cops & Robbers (2006) 0:60 (USA)
Agency: McCann-Erickson/A&L San Francisco (USA); Editor: Angus Wall; Post Production: A52 (USA).
Ad-titude.com, Sep. 19, 2006
Pioneer's sleek Hi Def. Campaign
Pioneer has launched a 20 million dollar campaign to coincide with the NFL and NCAA football season. Developed by RPA, this integrated campaign includes both web, print, and TV elements. The ads, which are for Pioneer's high definition plasma TV's, come at a time when millions of people are watching football and wishing they had a HD Plasma. With the help of A52, the LA based visual effects and design company, Pioneer launched two TV spots which display the HD TV's in futuristic testing labs. The spots are called "Orbit", and "Wind Tunnel."...
Duncan's TV Ad Land, Sep. 18, 2006
Pioneer PureVision Plasma Tests
Pioneer Electronics has just launched two 30 second TV commercials featuring the High Definition PureVision Plasma Television in test mode. Production, VFX and animation was all done at A52, directed by Andy Hall, with executive producer Mark Tobin, producer Sarah Haynes, visual effects/3D supervisor Andy Hall, Inferno artist Patrick Murphy, Shake artists Mike Adkisson and James Pastorius, pre-visualization artist Casey Schatz, and CGI artists Max Ulichney, Chris Janney, Kirk Shintani, Kevin Clarke....
Motionographer, Sep. 17, 2006
A52: Pioneer
VFX powerhouse and Cream O’ the Croppers A52 directed a couple beautiful all-CG spots for Pioneer and agency RPA: “Orbit” and “Wind Tunnel.” Each spot is cleverly concepted and beautifully realized.
AdLand, Sep. 15, 2006
Andy Hall creates HD campaign for Pioneer completely in CGI
A52's Andy Hall teamed up wtih RPA for a $20 million national cross-media campaign for Pioneer Electronics which includes HD broadcast spots "Orbit" and "Wind Tunnel" in addtion to print/online elements....
Feed, Sep. 15, 2006
A52's Artists Create Elements for RPA's $12 Million Pioneer Electronics Campaign
HOLLYWOOD — Award-winning Los Angeles visual effects and design company A52 today announced that visual effects supervisor Andy Hall has directed the HD broadcast spots, and overseen development of print/online elements, for advertising agency RPA's $20 million national cross-media advertising campaign for Pioneer Electronics. The campaign's first broadcast and print elements – each of which conceptually conveys Pioneer's passion for innovation and best-in-class plasma TV technology – have debuted in various media outlets since Oct. 2. Two completely 3D-animated broadcast spots are also being broadcast widely during HD sports programming, and will also appear prominently as part of Pioneer's recently announced High Definition Sponsorship of the ESPN HD and ESPN2 HD college football telecasts....
FXShare, Sep. 15, 2006
A52 Creates Elements for RPA's $12 Million Pioneer Campaign
Andy Hall Directs HD Commercials Created Entirely in CGI, Oversees Design of Campaign's Print/Online Elements...
POST Magazine, Sep. 14, 2006
A52 CREATES ENTIRELY-CG HD SPOTS FOR PIONEER
LOS ANGELES - Visual effects and design company A52 recently completed production and post on two high-definition commercials for agency RPA and their client Pioneer Electronics. A52 visual effects supervisor Andy Hall directed the entirely-CG Orbit and Wind Tunnel spots, as well as oversaw the development of print and online elements....
Variety, Sep. 14, 2006
Gridiron Gang
...Camera (color), Jeff Cutter; editor, Joel Negron; music, Trevor Rabin; production designer, Floyd Albee; set designer, Aric Cheng; set decorator, Erin Morache; costume designer, Sanja Milkovic Hays; sound (Dolby Digital/SDDS/DTS), Ken McLaughlin; supervising sound editors, Jerry Ross, Skip Lievsay; visual effects supervisor, Tim Bird; special effects coordinator, Kelly Kerby; visual effects, A52; stunt coordinator, Allan Graf; assistant director, J. Stephen Buck; casting, Sarah Halley Finn, Randi Hiller. Reviewed at Sony Pictures studios, Culver City, Sept. 6, 2006. MPAA Rating: PG-13. Running time: 126 MIN.....
VFXWorld, Sep. 14, 2006
A52 Create CG Spots for Pioneer
...Gary Paticoff, svp, exec producer at RPA, said, "Having worked with the A52 team on various projects, we were well aware of their credentials and abilities to deliver the cutting-edge CGI executions called for. It was important to position the Pioneer plasma products accurately in their appearance and performance while integrating them within the created environments." The artwork for all the campaign's elements draws from imagery brought to life in its two :30 HD broadcast spots, which are titled ORBIT and WIND TUNNEL. Set inside a futuristic testing facility, both spots feature a Pioneer PureVision plasma TV being tested: In ORBIT, when the TV displays the image of a planet, numerous chrome balls get pulled into the planet's gravitational force, fly up and move into orbit; in WIND TUNNEL, imagery of a Formula 1 car on the TV appears so real that smoke flows around the racing automobile — instead of flowing around the TV itself. Each frame of footage from both spots was created by A52's artists at 1080p HD resolution, using Autodesk's Maya animation software, Apple's Shake compositing software and Autodesk Inferno....
CreativeChannel Newsletter, Sep. 13, 2006
Member News From Around the World
VFX/CG supervisor Andy Hall just directed the HD broadcast spots, and overseen development of print/online elements for ad agency RPA's $20 million national cross-media advertising campaign for Pioneer Electronics. The artwork for all the campaign's elements draws from imagery brought to life in its two :30 HD broadcast spots, entitled Orbit and Wind Tunnel. Each frame of footage from both spots was created by A52's artists at 1080p HD resolution. Along with numerous other effects and CGI artists, Hall also relied on the talents of VFX supervisor and Inferno artist Pat Murphy, executive producer Mark Tobin and producer Sarah Haynes....
Boards Online, Sep. 12, 2006
Pioneer "Wind Tunnel"
Pioneer "Orbit"
A52 sex up Pioneer's new plasma display. PRODUCTION/VFX/ANIMATION COMPANY: A52; DIRECTOR: Andy Hall; EXECUTIVE PRODUCER: Mark Tobin; PRODUCER: Sarah Haynes; VISUAL EFFECTS/CG SUPERVISOR: Andy Hall; INFERNO ARTIST: Patrick Murphy; SHAKE ARTISTS: Mike Adkisson, James Pastorius; PREVIZ ARTIST: Casey Schatz; CGI ARTISTS: Max Ulichney, Chris Janney, Kirk Shintani, Kevin Clarke.
Adwired.com, Sep. 12, 2006
Headliner: Pioneer Pure Vision
Pioneer pushes the boundaries of Hi-Definition TV in this new campaign directed by Andy Hall via RPA....
Boards, August, 2006
Festival Report Card: Top 10 Spots
Xbox 360: "Water Balloons." VFX Company: A52.
Animation World Magazine, Aug. 31, 2006
Hot Spots Showcase 4: The Best in Animated & VFX Commercials
“The finished spots really represent director Phil Joanou’s vision, and I think he was blown away. Overall, the job went really smoothly, and it felt like everyone was on the same page the whole way through.” — A52’s Patrick Murphy.
“One of our biggest challenges was giving the agency the comfort level that we could create the cars in these spots in CG and have no one question their believability.” — A52’s Andy Hall.
International designers Network (Hong Kong), 2006. Three. Volume 13. Number 3.
TV Commercial
Honda Fit-Food Chain & Reflexes by A52
The Futon Critic, Aug. 15, 2006
SCI FI'S NEW SERIES, 'EUREKA,' SUPPORTED BY "INVENTIVE" PROMOTIONAL CAMPAIGN
New York August 15, 2006 SCI FI Channel's newest scripted series, 'Eureka,' airing Tuesdays @ 9pm ET/PT, is supported by an array of innovative marketing tactics designed to capitalize on the uniqueness of this one-of-a-kind series.... In addition to on-air tune-in spots, specially designed "concept promos" drive tune-in while skillfully introducing viewers to this extraordinary town of intellectually curious inventors where literally anything can happen. Steven Diller of MJZ productions directed the spots with special effects by a52 productions....
Boards Online, Jul. 25, 2006
Top Spot: Nike "Swing Portrait"
Erstwhile photographer Malcolm Venville lenses a series of striking Tiger Woods snapshots. Production Company: Anonymous Content/Culver City. Director: Malcolm Venville. DP: Janusz Kaminski. Producer: Paul Ure. Exec. Producer: Dave Morrison. Agency: Wieden & Kennedy/Portland. Agency EP: Ben Grylewicz. Agency Producer: Pamela Standley. CD: Hal Curtis. AD: Ken Meyer. CW: Tatum Shaw. Editorial: Joint Editorial/Portland. Editor: Corky Devault. Post/Effects: A52/LA. VFX/Inferno Artist: Kirk Balden. EP: Mark Tobin. Music: Elias Arts/bicoastal.
AdCritic.com, Jul. 24, 2006
Spot of the Day: Nike Golf: Swing Portrait
The Latest: Nike Golf: Grip
The Latest: Nike Golf: Shoe
The Latest: Nike Golf: Shoulder
Watch and learn. VFX: A52 - Los Angeles. VFX Executive Producer: Mark Tobin. VFX Artist: Kirk Balden.
AdLand, Jul. 22, 2006
Nike - Swing Portrait (2006) 0:60 (USA)
Nike - Shoulder (2006) 0:15 (USA)
Nike - Shoe (2006) 0:15 (USA)
Nike - Grip (2006) 0:15 (USA)
Agency: Wieden & Kennedy/Portland; Post/Effects: A52/LA; VFX/Inferno Artist: Kirk Balden; EP: Mark Tobin.
Duncan's TV Ad Land, Jul. 21, 2006
Nike FCUSA
Nike provided a challenge to the USA’s blindness to world football (soccer) with FC USA, a TV ad, in September 2005. “OK. Let’s take two seconds to talk about soccer. Which is about two seconds longer than it deserves. Real men don’t play soccer. Let’s be honest. Soccer isn’t important to anyone in this country. Let’s leave it that way.” Nike FCUSA was developed at advertising agency Wieden + Kennedy, Portland, by creative directors Hal Curtis and Mike Byrne, art director Matt Stein, copywriters Alberto Ponte and Dylan Lee, and agency producer Andrew Loevenguth. Director Malcolm Venville worked via Anonymous Content and hosts Nike FCUSA as a 6.24 mb quicktime video at Therapy Films and a 12.8 quicktime video at La PAC Films. Directors of Photography were Max Malkin and Emmanuelle Lubezki. Editing for Nike FC USA was done by Angus Wall and Brad Waskewich at Rock Paper Scissors where Nike FCUSA is hosted as a quicktime video. Visual effects were developed at A52, Los Angeles, by Flame artists Scott Johnson, Ben Looram, Justin Blaustein and Ryan Yoshimoto.
AdLand, Jul. 8, 2006
Microsoft - Imagine Cup (2006) 0:30 (USA)
Microsoft - Startup (2006) 0:15 (USA)
Agency: McCann-Erikson, SF; VISUAL EFFECTS COMPANY: A52; CITY/STATE: West Hollywood, CA; EXECUTIVE PRODUCER: Mark Tobin; PRODUCER: Jenny Bright; FLAME ARTIST / SMOKE EDITOR / ONLINE EDITOR: Kirk Balden; ADDITIONAL FLAME/INFERNO ARTISTS: Alicia Aguilera, Tim Bird, Justin Blaustein, Mike Bliss, Ben Looram.
Creativity, June 2006
Sound+Vision: Honda "Food Chain"
To make a small car seem ferocious, Honda puts its sub-compact Fit at the top of the food chain. First we see a small sedan swallowed by a bigger sedan -- going right under the hood and over the bumper. Next, an SUV has its way with the sedan, and then the Fit swallows the SUV whole, to the tag, "Ferocious small dominator." VFX: A52. VFX Supervisor: Andy Hall.
HOW, June 2006
Designers, Start Your Engines
For the "Keyhole" spot for the Honda Civic, A52 wanted to develop a collage style. Every shot was re-created with up to 500 stills of the environment, mixing and matching live-action, 3D and 2D elements. "It was really free-form; ideas would just come up," says Pat Murphy of A52. "We'd ask ourselves, 'Does this apply, is it interesting, does it still stay within the ralms of rebirth and include different visual language?"
VFXWorld.com, June 15, 2006
A52 Earns First VFX Honors at AICP Show
Los Angeles vfx and design company A52 was honored for the first time in the visual effects category by the AICP Show for last year's Nike Golf KID TIGER broadcast spot from Wieden+Kennedy....
3dvf.com (France), June 14, 2006
News
Le studio californien A52 présente ses travaux pour son dernier spot publicitaire....
HOW, June 14, 2006
Design & Creativity News
Since its launch in 1997, LA-based visual effects and design company A52 has had its project work featured in one category or another of the annual AICP Show, which honors the best commercials of the previous year, for nine consecutive years. Because of the focus on seamless visual effects, color-grading and photoreal CGI, its artists' contributions are often invisible to everyone except the creatives, directors and editors who rely upon them. Last Thursday night, however, at the Museum of Modern Art, A52's work was honored for the very first time in the AICP's Visual Effects category, for the Nike Golf spot from Wieden+Kennedy starring a five-year-old Tiger Woods, entitled "Kid Tiger." The spot originally debuted last July, and since it stars a five-year-old doing what the AICP jurors knew was impossible, A52's artists were finally given some well-earned recognition in their main field of expertise...
POST Magazine, June 14, 2006
A52 RECOGNIZED FOR 'KID TIGER' VFX
At last week’s AICP Show, visual effects and design company A52 (www.a52.com) was honored for their work on last year's Nike Golf Kid Tiger spot from Wieden+Kennedy. The honor marks the ninth consecutive year that A52’s work has been recognized at the AICP Show, but only the first time in the "Visual Effects" category....
FXGuide.com, June 13, 2006
A52 Earns First AICP Show Visual Effects Honors
A52's work was honored for the very first time in the AICP's Visual Effects category, for the Nike Golf spot from Wieden Kennedy starring a five-year-old Tiger Woods, entitled "Kid Tiger." The spot originally debuted last July, and since it stars a five-year-old doing what the AICP jurors knew was impossible, A52's artists were finally given some well-earned recognition in their main field of expertise...
HollywoodIndustry.com, June 13, 2006
Project Profile: A52 Earns First AICP Show Visual Effects Honors; Wieden+Kennedy's "Kid Tiger" Nike Golf Spot wins it
In home-movie quality, the :60 "Kid Tiger" spot shows a 5-year- old Tiger Woods playing the Old Course in St. Andrews, Scotland, during the British Open. He hits one remarkable shot after another in front of the jubilant crowd, and celebrates his performance with joyous demonstrations as his mother and father look on. At the end, we see the full-grown Tiger enjoying his win. During one week last July representing seven days of working around the clock, Bird, Murphy, producer April Killingsworth and other A52 artists artfully transformed twenty- year-old VHS home movies of young Tiger, along with recent NTSC broadcast footage from the British Open and stills of the St. Andrews Clubhouse, stands of crowds and other live-action plates, to create the finished spot.
Pluginz.com, June 13, 2006
A52 Earns First AICP Visual Effects Honors for Nike Golf
“The agency’s main concerns were about maintaining the emotion and the story’s plausibility,” said Tim Bird, who served as the project’s co-VFX supervisor along with Pat Murphy. “In the end, the technical constraints we faced actually helped us convey those emotions and package the story in a powerful way.”
The Feed, June 13, 2006
A52 EARNS FIRST AICP SHOW VISUAL EFFECTS HONORS, FOR WIEDEN+KENNEDY’S PHENOMENAL “KID TIGER” NIKE GOLF SPOT
A52’s distinction this year is an important one for the ten-year-old company, as this is the ninth consecutive year its work has been honored in the AICP Show, but only the first time the honors have come specifically in the Visual Effects category. “Over the past ten years, A52 has established a solid reputation for handling beautiful, seamless visual effects, for delivering gorgeous finished imagery – and for creating animation that looks like live-action,” explained Mark Tobin, A52’s managing director and executive producer. “As a result, the artists’ collaborations with top creatives, directors, DPs and editors have consistently been honored in the AICP’s Visual Style, Cinematography, Graphics, Animation and Advertising Excellence categories – but this year, the jurors recognized the significance of our team’s contributions to this extraordinary spot for Hal Curtis, his colleagues at W+K and Nike Golf. We’re very proud of everyone involved from our side, including our co-VFX supervisors Tim Bird and Pat Murphy, both of whom added artistry to this spot that few people would ever imagine upon watching it.”
VFXTalk.com, June 13, 2006
A52 earns first AICP Visual Effects honors for Nike Golf "Kid Tiger"
On June 8, at the 15th Annual AICP Show presented by the Association of Independent Commercial Producers at New York’s Museum of Modern Art, award-winning Los Angeles visual effects and design company A52 was honored for their visual effects artistry on last year’s Nike Golf “Kid Tiger” broadcast spot from Wieden+Kennedy. Honoring the best commercials of the previous year, the AICP Show will now go on tour to museums and cultural institutions across the U.S. and abroad....
SHOOT, June 9, 2006
MJZ Tops Prodn. Cos. With Nine AICP Show Honors
Visual Effects: Nike Golf "Kid Tiger":60. Visual Effects Artists:Tim Bird, Patrick Murphy, A52.
Editorial: Xbox 360 "Water Balloons":60. Visual Effects Artist: Patrick Murphy, A52; Editors: Angus Wall, Kirk Baxter, Rock Paper Scissors.
Editorial: Nike "FC USA":60. Visual Effects Artist: Scott Johnson, A52; Editor: Brad Waskewich, Rock Paper Scissors.
Creativity, June 2006
The Ad & Design Annual - Film: Xbox 360 Launch "Jump In"
"Jump in," goes the tag of the global launch effort of Microsoft's next gen gaming system the Xbox 360. Adding startling new dimension to the idea of group play, Frank Budgen-directed spots featuring a massive multi-player jumprope jam and a citywide water balloon war. Editors: Angus Wall, Kirk Baxter / Rock Paper Scissors. VFX: A52.
Graphic Design USA, May 2006
People
RAUL ORTEGO
Campaign (UK), May 19, 2006
The Work: New Campaigns - The World
HONDA FIT LAUNCH - US Project: Honda Fit launch Client: Tom Peyton, senior manager for national advertising, American Honda Brief: Showcase the unique features of the Honda Fit in launching the model Creative agency: RPA Writer: Todd Carey Art director: Curt Johnson Media agency: RPA Media planners: Sharon Enright, Kae Shoji Production companies: MJZ, HSI Directors: Phil Joanou (MJZ), Arni & Kinski (HSI) Editors: Brad Waskewich, Rock Paper Scissors; Tony Hall, Stardust Studios Post-production: A52, Stardust Studios Audio post-production: 740 Sound, Elias Arts, Lime Studios Exposure: National TV, internet THE LOWDOWN Honda has taken the unusual step of launching its new five-door hatchback, the Honda Fit, with five-second spots as part of efforts to reach drivers who have little time for conventional advertising. As well as running on national TV, the commercials are appearing on a variety of non-traditional media, including blogs and urban websites. They draw inspiration from a variety of sources, including video games and Japanese science-fiction films, under the....
MarSciTechtainment, May 17, 2006
Great work: Honda Fit "Food Chain"
For your enjoyment, here is the "Food Chain" spot that has been featured in the top international trade media outlets since first debuting back on Apr. 20. Directed by MJZ's Phil Joanou, the award-winning Los Angeles visual effects and design company A52 provided the spot's design, animation and effects work, and the end-tags were created by bicoastal Stardust Studios. More information and complete credits for this spot are online here. Bon appétit!...
Duncan's TV Ad Land, May 16, 2006
Honda Fit
American Honda and its ad agency RPA haved launched the all-new small car, the Honda Fit, with six 5-second and two t30-second TV ads. Launched on April 20, the ads feature a robotic voiceover and a quirky connection with the characteristics of the Honda Fit. The tagline: “The Fit Is Go”. RPA’s project associate creative director Curt Johnson says, “For the Fit’s launch, we created a print/internet campaign showing one iconic-type character image (cartoon versions of a bat, a silver bullet, etc.) representing a unique feature of the Fit, followed by a picture of the car itself. For this key component of the campaign’s broadcast elements, we asked A52 to bring the print imagery to life in six five-second spots. an attention-grabbing approach which creatively packages many of the ideas we wanted to convey about the Fit.”...
DigitalAnimators.com, May 5, 2006
A52 Creates Fitting Set of :05 Broadcast Spots for Ad Agency RPA's Honda Fit Campaign
Award-winning Los Angeles visual effects and design company A52 today detailed its design, animation and effects work on an innovative set of new :05 ads from advertising agency RPA for the all-new Honda Fit. The six spots - created to reflect the Fit's subcompact size, and entitled "Appetite for Cargo," "Frisky Predator," "Nocturnal Flyer," "Werewolves Beware," "Speedy Demon" and "Mucho Muscle" - debuted on Apr. 20, and will continue airing during high-profile broadcast programming over the weeks ahead....
Boards Online, May 5, 2006
Screening Room: Honda - Reflexes
Fun sci-fi flavored spots unveil the new Honda Fit. Visual Effects Company: A52, West Hollywood, CA. Executive Producer: Mark Tobin. Producer: Ron Cosentino. On-set Visual Effects Supervisors: Patrick Murphy, Andy Hall. Inferno Artists: Patrick Murphy, Ben Looram, Justin Blaustein. Matte Painters: Helen Maier, James Pastorius. 3D Supervisor: Andy Hall. 3D Animators: Dan Gutierrez, Max Ulichney, Chris Janney, Kirk Shintani.
Boards Online, May 5, 2006
Screening Room: Honda - Food Chain
Fun sci-fi flavored spots unveil the new Honda Fit. Visual Effects Company: A52, West Hollywood, CA. Executive Producer: Mark Tobin. Producer: Ron Cosentino. On-set Visual Effects Supervisors: Patrick Murphy, Andy Hall. Inferno Artists: Patrick Murphy, Ben Looram, Justin Blaustein. Matte Painters: Helen Maier, James Pastorius. 3D Supervisor: Andy Hall. 3D Animators: Dan Gutierrez, Max Ulichney, Chris Janney, Kirk Shintani.
VFXTalk.com, May 5, 2006
A52 creates fitting set of Broadcast Spots for Honda
Award-winning Los Angelesvisual effects and design company A52 today detailed its design, animation and effects work on an innovative set of new :05 ads from advertising agency RPA for the all-new Honda Fit. The six spots – created to reflect the Fit’s subcompact size, and entitled “Appetite for Cargo,” “Frisky Predator,” “Nocturnal Flyer,” “Werewolves Beware,” “Speedy Demon” and “Mucho Muscle” – debuted on Apr. 20...
Plugin.com, May 4, 2006
Honda Fit Becomes Predator in CG-Rich Spots from A52
Award-winning Los Angeles visual effects and design company A52 today detailed its design, animation and effects work on two new :30 TV spots from advertising agency RPA and MJZ director Phil Joanou for the all-new Honda Fit. The spots, entitled "Reflexes" and "Food Chain", debuted on Apr. 20...
Adland, May 2, 2006
commercials: Honda Fit - Food Chain - (2006) :30 (USA)
Agency: RPA. Visual Effects: A52.
Adland, May 2, 2006
commercials: Honda Fit - Reflexes - (2006) :30 (USA)
Agency: RPA. Visual Effects: A52.
DigitalPostProduction.com, May 2, 2006
Z Animation's HD Realization; Microsoft campaign's creative, highly organized approach
Microsoft’s new “Realizing Potential” global corporate branding campaign is an HD project for TV, print and the web, and the large-scale production required five separate facilities to complete the various aspects. Handling the animation on the six TV spots was Los Angeles-based Z Animation, which worked with Anonymous Content (live action production), Mad River Post (editing), A52 (compositing) and Elias Arts (music)....
Creativity, April 2006
People on the move
A52 in West Hollywood has hired VFX artist Raul Ortego, formerly a freelancer.
CGChannel, Apr. 27, 2006
A52 makes fitting campaign for Honda Fit
...“We’ve learned to rely on A52 as a partner in resolving visual challenges in ways that are truly extraordinary,” explained Gary Paticoff, RPA’s executive producer. “Each of these :05 ads had a tall order to fill, and thanks to A52’s work, each stands alone as a unique, fitting testament to Honda’s new Fit.”...
Dexigner.com, Apr. 24, 2006
Z Animation Reaches Potential for Microsoft Global TV Campaign
Z Animation has created and produced the entire animation package for the third installment of Microsoft's "Realizing Potential" Global live action/animated corporate branding campaign, first introduced by agency McCann-Erickson/San Francisco in 2002. The global TV, print and Internet campaign (with English language narration by William H. Macy), specifically highlights Microsoft's education and economic development projects in 32 countries throughout Europe, Asia and America. The initial airdates include the U.S., France, Germany, South Korea, Japan and China, with other nations in the EC, Asia and Pacific Rim also able to adapt and customize announcers and supers for their own versions....
THE CREATIVITY E-MAIL, Apr. 21, 2006
The Latest: Honda: Food Chain
Where is your car on the food chain? VFX: A52, Los Angeles.
THE CREATIVITY E-MAIL, Apr. 21, 2006
The Latest: Honda: Reflexes
Meet a car that's good on its feet, er, tires. VFX: A52, Los Angeles.
SHOOT, Apr. 21, 2006
A Tale Of Four Automotive Case Studies As Seen Through The Eyes Of Visual Effects Artists
West Hollywood-based visual effects and design company A52 and director Olivier "Twist" Gondry of bicoastal/international Partizan recent completed a :30 that may appear straightforward but was actually quite complex....
Creativity, March 2006
Top Spots, Vision: Honda "Mud Flap"
The naked chick silhouette seen on the mud flaps of semis stands up and walks around in this spot from A52, directed by effects supervisor Andy Hall. As a silver shadow, she approaches another truck, getting a rare look at the top of the bed, before attempting to step inside the cab. Waiting for her, of course, is another ubiquitous mud flap resident -- Yosemite Sam. VFX: A52. VFX Supervisor: Andy Hall. Music: Hum, Santa Monida. Lead Inferno Artist: Patrick Murphy. Agency: RPA, Santa Monica. CD: Joe Baratelli. CW: Adam Lowrey. AD: Chuck Blackwell. Director: Andy Hall, Pecubu Productions. DP: Eric Schmidt. Editor: Brad Waskewich, Rock Paper Scissors.
Jahshaka.net, Mar. 22, 2006
A52 and Director Phil Joanou Defy Physics
In a spot named "Snow Truck," a UPS truck arrives at a beach covered in snow. In "Elevator" and "Light Switch,' drivers in one place defy physics by magically turning up someplace else. And in "Ten Feet," "Rain" and "Overpass," UPS trucks respectively go from Manhattan to the mountains, from Texas to Oregon, and from the Mojave Desert back to Manhattan again... all in a matter of seconds, with no visible edits. Crafting each spot for The Martin Agency called for MJZ director Phil Joanou to capture some very exacting performances under meticulous conditions in locations ranging from Manhattan to Los Angeles, Lone Pine and Mojave, Calif. Among his production collaborators were director of photography Jeff Cutter and a team from LA-based visual effects and design company A52, which included VFX supervisor Tim Bird and producer Ron Cosentino....
CreativeChannel Newsletter, Apr. 25, 2006
Member News From Around the World
How busy can one company be? Lordy - here we go: New commercials for the Honda Fit via Rubin Postaer & Associates/ Santa Monica. The spots, Food Chain and Reflexes relied heavily on CGI (Food Chain) and VFX (Reflexes). Talents included Rock Paper Scissors editor Brad Waskewich, Stardust 3-D artists Hai Ho, Michael Jones, Robin Roepstorff & Sam Sparks, CG supervisors Jake Banks & Chris Saunders and executive producer Eileen Doherty, Elias Arts composer Chris Mann, 740 Sound Design
sound designer Eddie Kim, Company 3 colorist Stefan Sonnenfeld, and A52 3-D animators Daniel Gutierrez, Christopher Janney, Kirk Shintani & Max Ulichney, 3D supervisor Andrew Hall, executive producer Mark Tobin, Inferno artists Justin Blaustein, Ben Looram & Patrick Murphy, and producer Ron Cosentino. (My gosh, take a breath!) Also for the Honda Fit are five-seconds teasers - Frisky Predator, Speedy Demon, Silver Bullet, Nocturnal Flyer, Wrestler and Cargo-Bot. Make sure to check 'em out for a full credit roster (heck, I'm beat!).
Adland, Apr. 7, 2006
commercials: UPS - Light switch - (2006) :15 (USA)
Agency: The Martin Agency, Richmond Virginia. Production Company: MJZ. Visual Effects company: A52.
CGChannel, Apr. 7, 2006
A52 defies gravity in UPS spots
..."We thought, simple :15 second spots, one take, no problem. WRONG,” explained Joe Alexander, SVP and creative director for the Martin Agency. “Once we started talking to Phil and the team at A52, we realized we had six little Rubik's cubes on our hands, each with its own matrix. We always wanted one camera move to ensure that the spots left you thinking ‘How'd they do that?’, but we underestimated just how much the slightest variable would throw off the entire move. It was critical that we made adjustments on set. Having a tight, collaborative team like Phil, Tim and Ron there every step was crucial."...
Campaign (UK), Apr. 7, 2006
The Work: New Campaigns - The World
TOYOTA - THROW IT IN THE TUNDRA - US Project: Throw it in the Tundra. Brief: Launch the full-sized pick-up version of the Tundra. Creative agency: Saatchi & Saatchi Los Angeles. Writer: Deb Smith. Art director: Kevin Murphy. Planner: Ginny Kollewe. Media agency: ZenithOptimedia. Media planners: Robin Lee, Darrell Halcon. Production company: Partizan. Director: Olivier Gondry. Editor: Michael Hackett. Post-production: A52. Exposure: TV in US heartland region. THE LOWDOWN Toyota is upping the ante in its battle against domination of the US pick-up truck market by Ford, General Motors and Chrysler with new TV advertising for its Tundra model. Launched at the Chicago Motor Show in February, the new version of the Tundra is intended to extend Toyota's position in an aggressive market sector in which customer loyalties run deep. Saatchi & Saatchi in Los Angeles drafted in Partizan's Olivier Gondry to direct the complex 30-second spot, which recreates various intense weather conditions to demonstrate the Tundra's durability. The film shows a single shot of a Tundra parked....
CGSociety.org, Apr. 6, 2006
A52 On Maya and Mental Ray
Since opening the doors of its West Hollywood location on Melrose Avenue back in 1997, visual effects and design company A52 has largely defined the term “seamless” in terms of visual effects, and the term “photo-real” in reference to the computer generated images the company’s artists have created and incorporated into spots, music videos and the occasional high-profile main title sequence....
HollywoodIndustry.com, Apr. 6, 2006
A52 and MJZ Director Phil Joanou Defy Physics in New UPS Campaign from The Martin Agency
Over the past weeks, viewers of the NCAA Tournament and other high-profile broadcasts have seen numerous :15 UPS spots - each appearing to be a single, unedited shot - in which UPS driver/delivery agents literally "cover more ground faster than ever."...
Boards, March 2006
Transformers; For invisible effects artists, the spot is the canvas
...Then there are times when you're just told to "take the footage and run". A52's Patrick Murphy was commissioned to "remix" Francois Vogel's "Any Road" spot for Lexus with frame-for-frame recreations of the car driving in winter, without being at the initial shoot or even meeting Vogel. "The agency came in maybe twice - the first time because they were probably scared [the CG winterization] would look like crap, and the second time the day we delivered."...
CreativeChannel Newsletter, Mar. 29, 2006
Member News From Around the World
Seems Harry Cocciolo directed his first automotive spots for client Acura via RPA. The spots, Waiter and Arrow showcase the powerful navigation systems offered on the new Acura TL and MDX models. The team for Tool included (wait for it) EP Jennifer Siegel, head of production Amy DeLossa and line producer Mark Fetterman. Other professionals lending their skills were colorist Stefan Sonnenfeld for Company 3, editor Kirk Baxter for Rock Paper Scissors, and A52-ers: EP Mark Tobin, producer Scott Boyajan, VFX supervisor Tim Bird and Flame artist Ben Looram. [...] Los Angeles-based visual effects and design company A52 recently put their finishing touches on a new broadcast spot from Saatchi & Saatchi Los Angeles and client Toyota Motor Sales, USA. The :30 spot entitled Throw It in the Tundra presents a single shot of a Toyota Tundra parked outdoors as its being loaded with bails of hay, tools and other supplies. Other A52 talents included executive producer Mark Tobin and co-producers Scott Boyajan and Dan Brimer. Editiorial was handled by Crush Edit’s own Mike Hackett while end-graphics were provided by Solid. And if that wasn’t enough – A52 also completed detailed visual effects work on the 6 x :15 UPS campaign for The Martin Agency. The spots, Ten Feet, Rain, Snow Truck, Elevator, Light Switch and Overpass, drive home the point that UPS is covering more ground than ever. Additional talents included EP Mark Tobin and VFX supervisor Tim Bird. Company 3 weighed in with Stefan Sonnefeld while editor Katz cut for Cosmo Street....
CGSociety Newsletter, Mar. 24, 2006
CGPortfolio, A52 Studio Profile...
CGSociety visits A52 who last year hired former Digital Domain feature film animation supervisor Andrew Hall as their new CG Supervisor. Hall brought in more than just new ideas for workflow. He’s hooked up Maya and brought in some great ideas for future projects....
Adland, Mar. 23, 2006
adland: Toyota SPX ad directed by Olivier "Twist" Gondry
Los Angeles visual effects and design company A52 played weather gods and changed the skies from sunny to snowy seamlessly for Partizan director Olivier "Twist" Gondry, ad agency Saatchi & Saatchi Los Angeles and Toyota Motor Sales, USA, Inc....
CGChannel.com, Mar. 22, 2006
A52 changes weather at will in Toyota Spot
With a little magic from A52, weather in this Toyota spot changes even more often than in San Francisco!...
Create Magazine, Mar. 22, 2006
A52 Creates All-Season Effects for Partizan Director Twist Gondry's Toyota Tundra Spot
Award-winning Los Angeles visual effects and design company A52 today detailed their visual effects work for a new broadcast spot from Partizan director Olivier "Twist"
Gondry, ad agency Saatchi & Saatchi Los Angeles and Toyota Motor Sales, USA, Inc. The:30 spot entitled "Throw It in the Tundra" debuted over the past weeks in the heartland of the U.S....
DigitalPostProduction.com, Mar. 22, 2006
A52 Creates All-Season Effects for Partizan Director Twist Gondry's Toyota Tundra Spot
The spot presents a single shot of a Toyota Tundra parked outdoors, as two men load its bed with bails of hay, tools and other supplies. The men begin their work in short sleeves on a sunny day, but the day quickly becomes rainy, and their attire instantly changes to rain gear. While the men continue working, their clothes change rapidly through the full range of seasons. The shot's POV moves around the truck, and the voiceover relates, "The loads you haul can be mean, dirty, gritty... sometimes, cold-cutting steel. So you'd better have a truck that's strong enough to take it. That truck is the Toyota Tundra. Load after load, mile after mile, year after year, Tundra endures. Toyota, moving forward."...
Jahshaka.net, Mar. 22, 2006
A52 Creates All-Season Effects For Twist Gondry's Toyota Tundra Spot
"This spot is deceptive," began Kevin Murphy, Saatchi & Saatchi's project creative director and art director. "It looks simple, but was actually quite complex and the magic is always making complexity look effortless. A52 and Twist worked, both on location and in post, to create the various intense weather conditions that show the Tundra's durability season after season. And they did a great job. Attention to detail is what sets a spot like this apart and A52 and Twist nailed it."
VFXTalk, Mar. 22, 2006
A52 creates all-season effects for Twist Gondry's Toyota Tundra Spot!
...Twist Gondry has established himself since 1995 as a widely respected CG and VFX artist, after many years of working with his brother, acclaimed director Michel Gondry, on numerous internationally celebrated music video projects. Among Twist’s own directorial feats from recent years are music videos for The Stills (“Lola Stars and Stripes”), The Vines (“Ride” and ‘Winning Days”) and Hot Hot Heat (“Goodnight, Goodnight”), as well as commercials for Infiniti, Hyundai, Sprint, and many others...
Shots, Mar. 15, 2006
ON THE MOVE
Los Angeles visual effects and design company A52 has taken Flame/Inferno visual effects artist Raul Ortego on to its roster. A freelancer for the last three years, he was last with Spanish post house Telson....
Boards Online, Mar. 14, 2006
Industry news and people moves
LA-based visual effects/design company A52 has added flame/inferno artist Raul Ortego to its roster. Most recently operating as a freelance visual effects artist, Ortego has also worked with Discreet Logic and Telson in Spain....
CreativeChannel, Mar. 13, 2006
Meet the Artists at A52
Now in its tenth year of business, award-winning visual effects company A52 is expanding their roster of extraordinary artists. Here’s the most recent rundown on what the team has been up to....
FXGuide.com, Mar. 13, 2006
Inferno/Flame Artist Raul Ortego Joins VFX Company A52
Over the past decade, Raul has established a solid international reputation for extraordinary visual effects and graphic design artistry in the realms of commercials, music videos, on-air promos and feature films. A graduate of Spain’s Complutense College who also earned advanced post-production degrees from Madrid’s Cemtav and Inves Schools, Raul began his career as a Inferno/Flame demo artist for Discreet Logic in Spain, before joining Madrid-based Telson in 1997 as Senior Inferno/Flame Artist. He began freelancing in Spain in 2003, with the goal of eventually becoming a part of A52’s staff. Three years and many high-profile projects later, A52’s managing director and executive producer Mark Tobin is pleased to welcome Raul aboard....
HollywoodIndustry.com, Mar. 13, 2006
Award-Winning VFX Company A52 Adds to Roster
Internationally acclaimed Raul Ortego is newest Inferno/Flame artist...
Music Video Wire, Mar. 13, 2006
Emmy Award-Winning VFX Company A52 Adds Inferno/Flame Artist Raul Ortego to Roster
Over the past decade, Raul has established a solid international reputation for extraordinary visual effects and graphic design artistry in the realms of commercials, music videos, on-air promos and feature films. A graduate of Spain’s Complutense College who also earned advanced post-production degrees from Madrid’s Cemtav and Inves Schools, Raul began his career as a Inferno/Flame demo artist for Discreet Logic in Spain, before joining Madrid-based Telson in 1997 as Senior Inferno/Flame Artist. He began freelancing in Spain in 2003, with the goal of eventually becoming a part of A52’s staff. Three years and many high-profile projects later, A52’s managing director and executive producer Mark Tobin is pleased to welcome Raul aboard....
THE CREATIVITY E-MAIL, Mar. 10, 2006
Movers
A52 in West Hollywood has hired VFX artist Raul Ortego, who started freelancing in his native Spain in 2003, to its staff working on Flame and Inferno....
POST, Mar. 10, 2006
A52 ADDS FLAME/INFERNO ARTIST RAUL ORTEGO
Visual effects and design company A52 has added Flame/Inferno artist Raul Ortego to its full-time staff. He brings with him over a decade of experience working on commercials, music videos, on-air promos and feature films....
Studio Daily, Mar. 10, 2006
A52 Signs Inferno/Flame Artist Raul Ortego
..."Raul is a great, multifaceted addition to our team for a number of reasons," Tobin began. “First of all, he has a great knowledge of the seamless nature of our work, and his reel has a lot of beautifully finished work on it. In particular, The Missy Elliot video he did with Dave Meyers features full face replacement, and he seemed to turn it around quite quickly; also, the Coke spot he worked on for Roman Coppola is just great. His color work also got my attention. Still, his energy and his love for visual effects impressed me the most. Much like our artists Pat Murphy, Andy Hall, Tim Bird and Kirk Balden, Raul has a passion and dedication for making the work look amazing, and I’m confident he will be a fantastic resource for directors.”...
Communication Arts, Jan/Feb, 2006
Exhibit
A52: ROME Main Title Sequence.
Boards, Feb., 2006
Transformers; For invisible effects artists, the spot is the canvas
With new CG divisions sprouting up at FX houses and compositing software steadily increasing its capabilities, it's now accepted that in the realm of invisible or seamless effects, the sky is truly the limit - and can be lightened, darkened or replaced at will, of course.... Then there are times when you're just told to "take the footage and run". A52's Patrick Murphy was commissioned to "remix" Francois Vogel's "Any Road" spot for Lexus with frame-for-frame recreations of the car driving in winter, without being at the initial shoot or even meeting Vogel. "The agency came in maybe twice - the first time because they were probably scared [the CG winterization] would look like crap, and the second time the day we delivered."
VFXWorld.com, Feb. 28, 2006
Transitions: The Old Standards Get a Face-Lift; J. Paul Peszko explores compelling transitions in commercials and music videos as a result of some of the latest advances in 3D software
The elaborate 3D titles for the HBO series Carnivale are probably more memorable than the series itself, evidenced by the fact that the main title sequence garnered an Emmy while the series itself was ignored.... One of the key members of the A52 team that created the sequence, Inferno artist Patrick Murphy, explains the process. “We started basically by doing a cut of old footage from the Dust Bowl era and then we went back and found art that would depict the best imagery to go with the whole piece but also go with the footage. So to each tarot card, we would position the footage in back of the piece, thereby splitting all the layers so that we could make it into a virtual painting. We were able to blend the live action footage back there to make it feel like it was part of the picture. So you never really saw it until you went right up next to it. Then we brought it back to life. The way it came back to life was very simple. It just real slowly started to move then ramps up to normal speed and keeps the color of the actual painted picture. Then it all dissipates and evolves from that point (into the live action).”...
Dzine.tv, Feb. 9, 2006
A52's Andy Hall Brings Classic Mud Flap Girl to Life In Honda Ridgeline Super Bowl Spot
A52 Inferno artist Pat Murphy worked closely with Hall to design the spot’s opening scene showing a girl-adorned mud flap on a moving truck. A52’s CG team of Dan Gutierrez and Max Ulichney created the girl, the photo-real mudflap, and a rubberized, textured version of the Honda logo in Maya, and Murphy’s 2D team, including Alicia Aguilera, composited all the CG elements in Inferno together with the moving road, and applied various effects to heighten the realism of the opening and closing scenes. “I never would have been able to achieve the finished look of this spot without Pat’s contributions,” Hall added....
FXGuide.com, Feb. 8, 2006
Honda Ridgeline Super Bowl XL Spot Directed by A52's Andy Hall
Award-winning LA visual effects and design company A52 is proud to announce that Andy Hall – hired last April as the company’s CG supervisor – directed the Honda Ridgeline “Mud Flap” spot from advertising agency RPA which debuted on Sunday during ABC’s coverage of Super Bowl XL. Our complete story details A52's involvement and includes input from Andy and RPA senior producer Julie Dolson....
Autodesk.com, Feb. 7, 2006
Autodesk Helps Kick Off Super Bowl XL
Many of the hard-hitting commercials airing during Super Bowl XL were shaped with Autodesk’s products – including software gained from its recent acquisition of Alias. Post-production facilities used Autodesk technology to realize ideas for Aleve, Bud Light, Gillette, Honda and many other Super Bowl commercials. Award-winning visual effects and design company A52 crafted Honda’s commercial “Mud Flap” using Autodesk’s Discreet Inferno visual effects system and Autodesk Maya animation software...
CGChannel.com, Feb. 7, 2006
Superbowl spot: Classic Mudflap girl comes to life in Honda Spot
Award-winning Los Angeles visual effects and design company A52 today announced that Andy Hall – hired last April as the company’s CG supervisor – directed the Honda Ridgeline “Mud Flap” spot from advertising agency RPA which debuted yesterday during ABC’s coverage of Super Bowl XL...
HollywoodIndustry.com, Feb. 7, 2006
A52’s Andy Hall Brings Classic Mud Flap Girl to Life In Honda Ridgeline Super Bowl Spot
...“When I joined A52’s extraordinary team last year,” Hall said, “the goal was to capitalize on the increasing importance of CG in the creative world, and to pursue more character-performance type work. To progress so quickly to the point where I had this opportunity to direct such an important, high-profile project for Honda and RPA is an accomplishment we’re all very appreciative and proud of.”...
POST Magazine, Feb. 7, 2006
A52 PRODUCES, POSTS HONDA'S 'MUD FLAP'
Andy Hall, CG supervisor at visual effects and design company A52 directed Honda's Mud Flap spot, which aired during Super Bowl XL. Conceived by agency RPA, the commercial promotes the car maker's Ridgeline truck and features an animated female silhouette that comes to life, leaving her long-time spot on the back of a mud flap...
Studio Daily, Feb. 7, 2006
Mud Flap Girl Comes to Life in Super Bowl Spot
..."The fact that everything turned out so well was due in large part to Andy's constant attention to the spot," said Julie Dolson, RPA's senior producer. "It's a simple idea and Andy's vision was to bring it to life, not complicate it. Andy and everyone over at A52 delivered in a ridiculously compressed timeframe without sacrificing quality."...
Adweek, Feb. 6, 2006
RPA's 'Mud Flap' Beats Super Bowl Rivals
Independent RPA's decision to buy time on the Super Bowl for its Honda Ridgeline commercial was delayed to the last moment, but the spot yielded satisfying results, according the agency. The 30-second spot scored the highest of any automotive ad in the USA Today readers poll and 21st overall, just ahead of Ford's Escape commercial featuring Kermit and General Motors' monster-baby ad for Hummer....
Boards Online, Feb. 6, 2006
Screening Room: Honda Ridgeline - Mudflap
Yosemite Sam makes a play at another animated legend. PRODUCTION COMPANY: Pecubu Productions; DIRECTOR: Andy Hall; DIRECTOR OF PHOTOGRAPHY: Eric Schmidt; LINE PRODUCER: David Wolfson; EDITORIAL COMPANY: Rock Paper Scissors; EXECUTIVE PRODUCER: David Sellars; EDITOR: Brad Waskewich; PRODUCER: Scott Friske, Larry Ewing; VISUAL EFFECTS COMPANY: A52; EXECUTIVE PRODUCER: Mark Tobin; PRODUCER: Jenny Bright; VFX/CG SUPERVISOR: Andy Hall; INFERNO ARTISTS: Patrick Murphy, Alicia Aguilera; 3D ANIMATORS: Max Ulichney, Dan Gutierrez.
VFXPro, Feb. 6, 2006
Digital Artists Create Super Bowl XL Ads with Autodesk
Autodesk, Inc. announced that many of the commercials airing during last night's Super Bowl XL were shaped with Autodesk's products -- including software gained from its recent acquisition of Alias. Post-production facilities used Autodesk technology to realize ideas for Aleve, Bud Light, Gillette, Honda and many other Super Bowl commercials....
Dzine.tv, Jan. 12, 2006
A52 Remixes Francois Vogel's Lexus 'Any Road' Spot to Add Artistic Snow Effects
A52’s team, led by visual effects supervisor Pat Murphy, CGI supervisor Andrew Hall and producer Scott Boyajan, faced several important challenges in fulfilling the agency’s request. First, many of the scenes in Honigsberg’s original edit used playback effects where the scenes were sped-up to 3X. So, A52’s team had to make their effects work in real-time for almost 80 seconds of footage that, when sped-up and cut back in, played back in about 26 seconds. Secondly, as Pat Murphy explained, “In the original version, you have this beautifully color-corrected car from the transfer that's on a dark black road, and it looks fantastic. When we put the car into a white environment, where it needed to have white reflected into it, we really had to work hard to put the car in that environment but still make it look good.”...
Adjab, Jan. 9, 2006
Lexus IS remixed for winter
Last fall, Lexus ran a spot called "Any Road" to market its newest IS sport sedan. The ad, part of a series directed by Paranoid Projects: Tool's Francois Vogel (who some of you might remember from the HP photo ads), was re-fangled in December to flip the script from normal weather conditions into a winterized version. If anything, this sounds like it was a lot of fun rather than a pain in the backside. Visual effects firm A52 did everything from figure out what tires were on the vehicle from the original spot, built new tires virtually, and added them to the footage at the same time that snow was built into the road to change the sky somewhat to keep us on our toes. Additionally, the trees in the background were created in such a manner where the viewer would believe that the snow had been on the ground for a few days, and had settled, melted, or shifted in different areas, and wasn't a simple blanket. In other words, they were going for reality....
AdRants, Jan. 5, 2006
Winding Road Car Commercial Gets 'Winterized'
...That's probably what visual effects company A52 thought when LA agency Team One asked them to "winterize" a previously shot commercial for the 2006 Lexus IS. Explaining the strategy, Team One Executive Producer Jack Epsteen said, "We have a long history of relying on A52 for complex visual feats and in this case, we felt that tapping into the company's artistic expertise to add snow effects to this spot would be an interesting way to back-up the 'Why live in one dimension' tagline.'"...
POST Magazine, Jan. 5, 2006
A52 WINTERIZES LEXUS' LATEST
A52 recently completed revisions for an existing Lexus spot in which it added winter elements throughout the :30 commercial. Designed to promote the 2006 IS model, the original Any Road commercial was directed by Francois Vogel of Paranoid Projects: Tool and edited by Chrome’s Hal Honigsberg....
Create Magazine, Jan. 4, 2006
A52 Remixes Francois Vogel's Lexus 'Any Road' Spot To Add Artistic Snow Effects
Along with Jack Epsteen, Team One's campaign team also includes executive creative director Chris Graves, group creative director/copywriter Jon Pearce and group creative director/art director James Dalthorp. The team for Paranoid Projects: Tool included executive producers Phillip Detchmendy and Claude Letessier, head of production Amy DeLossa and line producer Kati Haberstock. Alex Lamarque served as director of photography. Company 3 Santa Monica's colorist for the project was Stefan Sonnenfeld. In addition to Hal Honigsberg, Chrome's project credits include executive producer Deanne Mehling, producer Cristina Matracia and assistant editor Tommy Harden. Honigsberg shared sound design credits with Bob Gremore, who mixed the spot at Juice in Santa Monica. A52's team also included executive producer Mark Tobin and CGI artists Dan Gutierrez, Christopher Janney, Branden Perlow and Max Ulichney....
DigitalProducer.com, Jan. 4, 2006
A52 Remixes Francois Vogel's Lexus "Any Road" Spot to Add Artistic Snow Effects
A52’s team, led by visual effects supervisor Pat Murphy, CGI supervisor Andrew Hall and producer Scott Boyajan, faced several important challenges in fulfilling the agency’s request. First, many of the scenes in Honigsberg’s original edit used playback effects where the scenes were sped-up to 3X. So, A52’s team had to make their effects work in real-time for almost 80 seconds of footage that, when sped-up and cut back in, played back in about 26 seconds. Secondly, as Pat Murphy explained, “In the original version, you have this beautifully color-corrected car from the transfer that's on a dark black road, and it looks fantastic. When we put the car into a white environment, where it needed to have white reflected into it, we really had to work hard to put the car in that environment but still make it look good.”
Pluginz.com, Jan. 4, 2006
A52 Remixes Francois Vogel's Lexus 'Any Road' Spot
...Perfectionists to the end, Murphy described a few other touches his team added to the finished spot. “The spot looks in many ways like a pure mirror effect, but we wanted it to feel like the shots with and without snow were not exact duplicates,” he said. “So, we did little things like change the sky slightly and turn the car’s logos around so they always read properly.”...
Boards Online, Jan. 3, 2006
Screening Room: Lexus - Any Road
Tool's Francois Vogel delivers more split-screen symmetry for Lexus. VISUAL EFFECTS COMPANY: A52.
Animation World Network, Dec. 27, 2005
A52 Adds Wintry Effects to 2006 Lexus IS Spot
For the new ANY ROAD spot to promote the launch of the 2006 Lexus IS sport sedan, A52 was asked to "winterize" it from beginning to end....
VFXWorld, Dec. 27, 2005
A52 Adds Wintry Effects to 2006 Lexus IS Spot
..."We have a long history of relying on A52 for complex visual feats," explained Jack Epsteen, exec producer with ad agency Team One, "and in this case, we felt that tapping into the company's artistic expertise to add snow effects to this spot would be an interesting way to back-up the 'Why live in one dimension' tagline. They met the challenge in their typical exemplary style."...
StudioDaily, Dec. 23, 2005
A52 Remixes Lexus Spot
..All of A52’s work was performed in HD resolution, and that includes a digital matte painting created in Photoshop by artist Helen Maier, who used real photography to build a one-frame digital matte painting to be used as the spot’s new background environment. “Our goal was to make it feel as if the snow was a couple of days old, that the sun had been shining and the snow had compacted,” Murphy explained. “Some of the trees might not have snow on them because of the leaves being lighter, wind blowing it off or the sun having melted it down.” Maier’s multilayered matte included trees, ditches and birms, as well as a new road plate with snow and car tracks on it....
Autodesk, Nov., 2005
A52's Creativity Sizzles with Distreet Flame and Autodesk Burn
With viewer expectations and client demands at an all-time high, there's nothing more disconcerting than the pressure to fill the screen with fabulous, innovative visual effects. With Discreet Flame effects systems software, "The speed with which our ideas can be developed, produced and rendered is the key to making our deadlines and staying competitive," says Pat Murphy, A52's visual effects supervisor."...
DigitalProducer.com, Nov. 22, 2005
Crispin Porter + Bogusky Taps A52 to Build Miller Beer Campaign
Award-winning Los Angeles visual effects and design company A52 today detailed their visual effects work for a new broadcast campaign from Crispin Porter + Bogusky and their clients at Miller Brewing Company. The campaign’s two :15 spots, entitled “Destiny” and “Perfect Brewery” debuted on Nov. 7 to promote Miller’s 1855 Celebration Lager. Both spots will run for the next several weeks....
FXGuide.com, Nov. 22, 2005
Crispin Porter + Bogusky Taps A52
...“These spots were born from the idea of telling some of the Fred Miller stories responsible for Miller celebrating their 150th anniversary,” explained Paul Keister, CPB VP and creative director. “And the pullout technique is also off that idea, where we visually focus on the microscopic details of Fred Miller's history and pull out to show the bigger picture of why this beer is here. I hadn't seen A52's work before, but when I saw their reel, I knew immediately that they had to do it."...
Highend2D.com, Nov. 22, 2005
Crispin Porter + Bogusky Taps A52 for Historical Campaign
...A52’s team won Emmy and PROMAX Gold Awards in 2004 for their pioneering work on the main title sequence for HBO’s CARNIVÀLE, which featured the “2.5D” technique where the camera moves through still artwork to reveal other embedded imagery. The artistic approach to the new 1855 Lager spots, which explore historic black-and-white still images from the 1800s, brought new creative challenges to A52’s team...
Pluginz.com, Nov. 22, 2005
A52 Renders Historical Journey of Miller's 1855 Celebration Lager
...According to A52 project VFX supervisor and lead Inferno artist Kirk Balden, the agency’s creative team provided the set of still images used for both spots. Each image was scanned at resolutions ranging from 6K to 8K, and A52 designer Max Ulichney rendered a lower resolution previsualization of the camera move using Maya, which he provided to the campaign’s editor, Kirk Baxter of Rock Paper Scissors. Baxter made various adjustments to the sequence to help the agency creatives dial-in the move to best match the voiceover. In the meantime, Ulichney and fellow designer Chris Janney worked with the high-resolution versions of the imagery in Photoshop to rotoscope specific elements from each image. The results – which Balden described as multiplanar matte paintings – were then assembled in Autodesk’s Discreet Inferno system to create the final camera move...
THE CREATIVITY E-MAIL, Nov. 18, 2005
Spot of the Day: Xbox: Water Balloons
A full-scale battle erupts. VFX: A52, Los Angeles. 2D Artist: Patrick Murphy.
CreativeChannel Newsletter, Nov. 16, 2005
Member News From Around the World
A52 has been busy with a new set of :15 spots for Miller's 1855 Lager via Crispin Porter + Bogusky/Miami. Consisting of historic black-and-white still images from the mid 1800s, the new ads, Destiny and Perfect Brewery, feature the talents of executive producer Mark Tobin, producer Scott Boyajan, VFX supervisor Kirk Balden, Inferno artist Ben Looram and designers Max Ulichney and Christ Janney. Rock Paper Scissors lent editorial expertise with editor Kirk Baxter....
SHOOT, Nov. 4, 2005
Top 10 Spot Tracks: Honda "Keyhole"
Production: A52, Los Angeles. Patrick Murphy and Andy Hall, visual effects supervisors/directors.
IdN: International designers Network, Volume 12 Number Four, International Edition
TV Commercial
Budweiser "Everyday Heroes" by A52
Finish Line "Ostrich," "Eyeballs," "UFOs" by A52
3DCreative Magazine, Oct., 2005
Honda Civic is Reborn
in RPA's "Keyhole" spot, created through A52's new directorial collective for photoreal CGI storytelling...
Creativity Magazine, October, 2005
WHEN IN ROME
HBO's latest show open, for the historical drama Rome, shows ancient wall scrawlings that move and tell of their times. Featuring gory violence, blatant sex and the sense of a mystical place, the graffiti was well researched by director Angus Wall, who included the Lupercal and October Horse festivities in the animated drawings. Client: HBO; CD/Director: Angus Wall; Producer: Scott Boyajan; DP: Tani Canevari; Editor: Brad Waskewich/Rock Paper Scissors; CG Supervisor: Andy Hall/A52; Lead 2D Artist/Supervisor: Kirk Balden/A52; Inferno Artists: Tim Bird, Ben Looram/A52; Music: Many Rooms Music; Composer: Jeff Beal; Original Artwork: Josh Bayer, Eugene Yelchin.
Creativity Magazine, October, 2005
TOP SPOTS, VISUALS: HONDA "KEYHOLE"
As viewers look inside a car's keyhole, all kinds of creepy crawlies --including newly-emerged butterflies, shedding snakes and newborn spiders--come out to demonstrate the rebirth of the Honda Civic, part of a massive youth push for the redesigned vehicle. But in addition to this rebirth, effects house A52 comes out of its effects cocoon with a directing credit, with VFX supervisors Andrew Hall and Patrick Murphy leading the animation-heavy spot in a close collaboration with editor Angus Wall of Rock Paper Scissors....
VFXWorld, Oct. 27, 2005
Autodesk Technology Goes Primetime
Autodesk Inc. announced that its media and entertainment systems and software are shaping more than 40 television shows for the 2005-2006 TV season. From returning favorites such as LOST and NIP/TUCK to provocative new shows such as PRISON BREAK and ROME, Autodesk’s technology is relied upon by broadcasters and post-production facilities....
Yahoo! Finance, Oct. 27, 2005
Autodesk Technology Goes Prime Time in House, Lost, Nip/Tuck and Other 2005-2006 Television Shows
...A52, an Emmy award-winning visual effects and design company, employed Autodesk's Discreet Inferno and Flame visual effects systems on the main title sequence for Rome, a new historical drama. This HBO and BBC co-production envelops viewers in the mystique of the Roman Empire of 52 BC. Created entirely in-house at A52, the title sequence combines live-action and computer-generated elements, including digital graffiti, grain and colors. Autodesk's systems were instrumental in crafting a chariot race from varied-rate footage that required extensive 3D tracking, and for creating a camera fly-through of a dye wall....
Dzine.tv, Oct. 20, 2005
Mythologies And Mystique Of Ancient Empire Unite In HBO'S 'Rome' Title Sequence From A52
“On many projects, you start off with storyboards and everyone has a good idea of what it's going to look like when it's completed,” Balden added. “This project was very experimental right to the very end. The tone of it is pretty much unlike anything we've done and most of what any of us here have seen. There's a lot there that creatively sets the stage for the series.” ...
VFXWorld, Oct. 17, 2005
A52 Delves More into CG for Honda Civic Spot
A52 served as the director for a recent HD spot titled “Keyhole,” as part of advertising agency RPA’s massive year-long multiplatform marketing campaign for the all-new 2006 Honda Civic. A52’s collective features the talents of CG/vfx supervisor Andrew Hall and co-vfx supervisor Pat Murphy, and also relies upon the creative involvement of Rock Paper Scissors’ editor Angus Wall....
CGChannel, Oct. 13, 2005
A52 evolves into directorial collective for Honda Keyhole
Honda Civic is Reborn in RPA’s Keyhole Spot, Created Through A52’s New Directorial Collective for Photoreal CGI Storytelling...
SHOOT, Oct. 7, 2005
Visual Effects & Animation: Creating A "Keyhole" For The Honda Civic; CG-intense spot illustrates the rebirth of an icon
...For 2005, Honda has redesigned the Civic, and with the change, comes a stunning spot from visual effecs and design company A52, Los Angeles, and Rubin Postaer and Associates (RPA), Santa Monica. The :30 "Keyhole" explores rebirth -- the rebirth of a car set against rebirth in nature...
SHOOT, Oct. 7, 2005
Massive Attack; Crowd Simulation Software Ushers In New Creative Options
Meanwhile, in the U.S., visual effects and design company A52 used Massive on a pair of ads. The first was Budweiser's "Everyday Heroes" directed by noted DP Robert Richardson of bicoastal Tool of North America via Waylone Advertising, St. Louis. The spot tells the story of Anheuser-Busch's "Here's to the Heroes" cross-country tour, held last spring. The spot features two eight-horse Clydesdale teams -- one from New York, one from San Francisco -- who go to major cities along the routes to St. Louis, where both teams met. In some 21 cities along the way, citizens participating in tour events sent messages of pride and appreciation to the nation's troops and took part in other partriotic activities and celebrations. The conclusion of the spot featured a crowd of thousands celebrating the tour's patriotic causes and the two Clydesdale teams coming together in St. Louis....
CreativeChannel Newsletter, Oct. 4, 2005
Member News From Around the World
Los Angeles-based visual effects and design company A52 detailed its team’s evolving role in the creation of high-end television commercials for client Honda via RPA/Santa Monica. With the increasing importance of CG-based creative approaches, A52 served as director on the HD spot entitled Keyhole for the all-new 2006 Honda Civic. A52’s cast of thousands included: VFX supervisor/lead Inferno Patrick Murphy, Flame artists Tim Bird, Justin Blaustein, CG/VFX supervisor Andrew Hall, CG artists Daniel Gutierrez, Craig Halperin, Helen Maier, Maxx Okazaki, Brandon Perlow, Casey Schatz, Max Ulichney & Vania Alban-Zapata. Oh hey – and editor Angus Wall of Rock Paper Scissors!
HollywoodIndustry.com, Oct. 3, 2005
A52's effects and animation work title HBO's ROME
...“A52's Angus Wall and Scott Boyajan truly were the vision on our title sequence,” added series co-producer Todd London. “From design and development, through production in Rome, and finally bringing it all together in post-production and final delivery, their talent, attitude, class and execution tend to be the reasons I enjoy having a working relationship with them.”...
Boards, September, 2005
Stock Picks: Nike, "Kid Tiger"
Visual effects company A52 was given the final task of smoothing the transition between 25-year-old video footage and current, broadcast-quality material. "Each sequence is made up of at least two elements, many times three or four, composited as one image. And manipulating those different elements digitally so they could sit well together was no small feat, but they did it," says Curtis....
Boards, September, 2005
Stock Picks: Finish Line, "Ostrich"/"Eyeballs"
Director Tom Kuntz and the creative team at W+K wanted footage that had a kitschy, B-movie feel, says A52 VFX supervisor Andy Hall. Sourced from Susan Nickerson of Los Angeles-based Nickerson Research, Kuntz and company settled on footage of a squawking ostrich on the run and a pair of floating eyeballs goofy and menacing enough to make Ed Wood proud. The clips appear behind the respective joggers, as though they are running away from monsters of their own making. "We're seeing inside their head, as it were," says Hall....
CGSociety.com, Sep. 23, 2005
Stash DVD: Issue 12
Stash 12 delivers an international line-up of 29 brilliant animation, VFX and motion design projects PLUS the complete slate of winners from the 2005 Rushes Soho Shorts Festival. Another highlight on this disk, a five-year-old Tiger Woods winning the British open in a Nike spot from A52....
THE CREATIVITY E-MAIL, Sep. 23, 2005
Spot of the Day: Honda: Key Hole
The redesigned Civic undergoes a metamorphosis. Client: Honda. Agency: Rubin Postaer & Assoc. Production Company: Pecubu Productions. Director: A52. VFX: A52 - Los Angeles.
CreativeChannel Newsletter, Sep. 21, 2005
Member News From Around the World
You all know that Rome wasn’t built in a day… With that said, take a look at ROME, the spectacular co-production between HBO and BBC. Viewers are transported into the mystique of the ancient city in 52 BC via an engaging main title sequence created entirely in-house by visual effects and design company A52. The vision involved capturing live-action footage on location in Rome and combining animated graffiti on the walls of the city with vibrant cinematography to convey the unique mythologies and realities of the ancient world. A52's project team, overseen by executive producer Mark Tobin, included creative director Angus Wall, producer Scott Boyajan, VFX artist Kirk Balden, Inferno artists Tim Bird & Ben Looram, CG supervisor Andrew Hall, and CG animators Christopher Janney, Chris Bowers, Denis Gauthier, Craig Halperin, Max Ulichney, Brandon Perlow and Daniel Gutierrez. Angus Wall directed the live-action shoot and Tani Canevari served as his director of photography....
CGFocus, Sep. 20, 2005
Mythologies and Mystique of Ancient Empire Unite in HBO's ROME Title Sequence from A52
...As was the case on CARNIVÀLE, Angus Wall once again stepped into the role of creative director for the ROME project, working directly with Carolyn Strauss and director of HBO Entertainment Gina Balian, as well as series executive producers Bruno Heller and Anne Thomopoulos, HBO production executive Michael Hill, and project co-producer Todd London. The fulfillment of Wall’s vision involved capturing live-action footage on location in Rome, and combining animated graffiti on the walls of the city with vibrant cinematography to convey the unique mythologies and realities of the ancient world the epic series dramatizes....
VFXWorld, Sep. 7, 2005
A52 Goes for Mystique & Mythology in Rome Main Titles
ROME, the new HBO/BBC co-production, which recently debuted on HBO, boasts the mystique of Rome in 52 BC via a main title sequence created by award-winning Los Angeles visual effects and design company A52. The :90 main titles, created entirely in-house at A52, will introduce each episode. “This venture, our third with A52, proves what a powerful creative force they are,” said Carolyn Strauss, president of HBO Ent....
IdN: International designers Network, Volume 12 Number Three, International Edition
TV Commercial
Infiniti "Dusk" + "All Wheel Drive" by A52
Source TV's The Source Monthly, August, 2005
MOST OFTEN ASKED
Wieden & Kennedy/PORTLAND's latest spot for Nike Golf features a very young Tiger Woods playing on the Old Course at St. Andrews. The spot is made up of second-and-third generation videotape of Tiger taken from three different TV pieces he'd done with local news stations intercut with St. Andrews footage shot in 1998. The end result? A seamless piece embodying his absolute delight in playing golf as a "Kid Tiger," earning it this month's place of Most Requested. Flame/VFX: A52.
Videography, August 2005
MTV Announces Award Nominees
The nominees for best special effects include A52 for Coldplay's "Speed of Sound,"...
Animation World Magazine, Aug. 31, 2005
Hot Spots Showcase 3: The Best in Animated & VFX Commercials
A52: “The agency’s main concerns were about maintaining the emotion and the story’s plausibility,” said A52’s Tim Bird, who served as the project’s co-vfx supervisor along with Pat Murphy. “In the end, the technical constraints we faced actually helped us convey those emotions and package the story in a powerful way.”
Adweek, Aug. 15, 2005
Best Spots of July: Nike Golf "Kid Tiger"
Images of Tiger Woods playing golf as a kid are seamlessly worked into footage of his play at the British Open as the music accompanies with, "I wish that I knew what I know now, when I was younger." Flame Artists: A52 Los Angeles: Ben Looram, Justin Blaustein, Ryan Yoshimoto, Alicia Aguilera, Eric Algren, Scott Johnson; CGI Artist: Craig "Xray" Halperin, A52, Los Angeles.
THE CREATIVITY E-MAIL, Aug. 11, 2005
Spot of the Day: EA Sports: You
Are you ready to be an NFL quarterback? VFX: A52 - Los Angeles; VFX Executive Producer: Mark Tobin; VFX Producer: Jenny Bright; VFX Supervisor: Tim Bird.
CreativeChannel Newsletter, Aug. 10, 2005
Member News From Around the World
For a new :60 spot entitled You, via Wieden+Kennedy for EA Sports' Madden NFL 2006, RSA's Sam Bayer headed for the famed Rose Bowl in Pasadena, California for a bit of shooting. The ad features amazing visual effects in regards to the stadium, the players and the crowds. Other talents weighing in included RSA’s executive producer Tracie Norfleet, Company 3 and colorist Stefan Sonnenfeld, Mad River Post and editor Lucas Eskin, and visual effects company A52 - artists Tim Bird, Justin Blaustein and Ben Looram....
Boards Online, Aug. 9, 2005
Screening Room: EA Sports (60) - You
The NFL's Donovan McNabb stars in this first-person :60 spot from RSA's Sam Bayer. VISUAL EFFECTS COMPANY: A52.
SHOOT, Aug. 5, 2005
Digital Color Grading, DI Make Inroads at Siggraph Confab
...Another example was Budweiser's "Everyday Heroes" that broke in late May via Waylon Ad, St. Louis. The spot, directed and lensed by Robert Richardson, ASC, via bicoastal Tool of North America, features visual effects from A52, Santa Monica, which tapped Massive to create a digital crowd of 10,000....
Creativity Magazine, July, 2005
SPECIAL REPORT: Music & Sound
Top Tracks: Nike "Magnet"
VFX Company: A52
Film&Video Magazine, July, 2005
Coldplay Sees the Light
... The lighting story wasn't over at the wrap but continued to evolve even after the edit by Rock Paper Scissors' Adam Pertofsky. Romanek wanted to intensify the lighting effects as the mood of the video changes. To get the intensity of color that Romanek decided he wanted took several days of Inferno and Flame work at A52 in West Hollywood. Pat Murphy spent hours re-lighting and color correcting to emphasize blue in the first section, then red, and finally gold. "A lot of the close-ups didn't give the same feel as the wide shots," says Murphy, "So we were basically manipulating the back-wall light and adding lights to make wide shots and close-ups match closer together."
Graphic Design USA, July, 2005
PEOPLE
Name: Andrew Hall. Company: A52. Location: West Hollywood, CA. Title: CG Supervisor. Employment: Digital Domain, The Motion Picture Company, CreoCollective. Fact: His film credits include "The English Patient," "Tomorrow Never Dies," "Richard III," "Peter Pan," "The Time Machine."
CreativeChannel Newsletter, Jul. 26, 2005
Member News From Around the World
Sam Jones aligned himself with client DirecTV and their new spot ReThink TV. The message: It's time to rethink mediocrity, choices, freedom, quality, possibilities, innovation, and query, what's next? The usual suspects weighed in for Tool with telecine being tackled by Company 3 and colorist Stefan Sonnenfeld, editorial by Rock Paper Scissors and editor JD Smyth, and visual effects by A52, lead artist Kirk Balden and VFX artist Justin Blaustein.... And speaking of A52... The design company detailed their visual effects work for the new Nike Golf Kid Tiger broadcast spot from Wieden+Kennedy/Portland. In home-movie quality, the :60-second spot shows a 5-year-old Tiger Woods playing the Old Course in St. Andrews, Scotland, during the British Open. At the end, we see the full-grown Tiger enjoying his win. A52-ers included executive producer Mark Tobin, producer April Killingsworth, visual effects supervisors Tim Bird and Patrick Murphy, and VFX artists Alicia Aguilera, Eric Algren, Justin Blaustein, Craig Halperin, Scott Johnson, Ben Looram, and Ryan Yoshimoto.
Newsday, Jul. 27, 2005
List of nominees for MTV's VMA show
Best special effects in a video (artist, special effects company): Coldplay, A52, "Speed of Sound"...
Adjab, Jul. 26, 2005
DirecTV's "Rethink" campaign rolls on
DirecTV continues to ask viewers to "rethink TV" this year, in an attempt to show innovation by the television provider. In fact, this latest spot takes the slogan as its moniker, with the 60-second "Rethink TV" by Tool of North America's Sam Jones putting together a stack of short films or situations into one big concept. ...VISUAL EFFECTS COMPANY: A52.
Highend2D.com, Jul. 26, 2005
Sam Jones’ DIRECTV ad challenges viewers to “ReThink TV”
...The team from LA editorial company Rock Paper Scissors included editor JD Smyth and producer Dex Deboree. For VFX company A52 in West Hollywood, the team included executive producer Mark Tobin, producers Scott Boyajan and April Killingsworth, visual effects supervisor/lead artist Kirk Balden and VFX artist Justin Blaustein....
Contra Costa Times, Jul. 26, 2005
MTV awards promises to be all-new
Here are the nominees for key categories of the MTV Video Music Awards: Video of the year: Coldplay, "Speed of Sound"; Special effects: Coldplay, A52, "Speed of Sound".
The Hollywood Reporter, Jul. 26, 2005
'Idiot' savant: 8 VMA noms for Green Day
Best Special Effects in a Video (Artist, Special Effects Company): Coldplay, A52, "Speed of Sound".
Adweek, Jul. 25, 2005
Barbara Lippert's Critique: Loving A Baby Tiger
...this latest spot for Nike Golf juxtaposes the compact form of Li'l Man Woods into the endless green landscape of the Big British Open at the Old Course in St. Andrews, Scotland. And the result is, I dare say, seamless and brilliant.... Visual effects: A52, Los Angeles.
Yahoo! News, Jul. 25, 2005
MTV Announces Host, Nominees, and Performers for the 2005 Video Music Awards
Following are the nominees for the "2005 MTV Video Music Awards": VIDEO OF THE YEAR: Coldplay "Speed of Sound" - Director: Mark Romanek, Producer: Aris McGarry, Production Company: Anonymous Content. BEST SPECIAL EFFECTS IN A VIDEO: Coldplay "Speed of Sound" - Special Effects: A52....
HollywoodIndustry.com, Jul. 21, 2005
Sam Jones' DIRECTV Spot Pushes Viewers to Rethink TV
...The team from LA editorial company Rock Paper Scissors included editor JD Smyth and producer Dex Deboree. For VFX company A52 in West Hollywood, the team included executive producer Mark Tobin, producers Scott Boyajan and April Killingsworth, visual effects supervisor/lead artist Kirk Balden and VFX artist Justin Blaustein....
Boards Online, Jul. 19, 2005
Tiger Milk; Nike shows us a babe in the [Tiger] Woods
BABY TIGER STILL A KILLER> This new spot from Nike takes existing home movies of six-year old golf phenom Tiger Woods and melds them with footage from Tiger's 2000 British Open championship run at St. Andrew's. Thanks in no small part to seamless VFX work from A52, the clip plays out flawlessly; the end result is a surprisingly heartfelt tribute to natural talent, destiny and expectation that falls right in line with Nike's decidedly more human-drama-focussed work of late (see: the Kobe Bryant print ad, the Lance Armstrong spot). Plus, in light of Tiger's drought-ending triumph at the British Open this weekend, it makes Nike look downright prescient. Neat trick. Agency: Wieden & Kennedy.
Boards Online, Jul. 19, 2005
Screening Room: Nike - Kid Tiger
A six year-old Tiger Woods takes the British Open. VISUAL EFFECTS COMPANY: A52.
FXguide, Jul. 18, 2005
Effects and CGI Elements from A52 Chase in Finish Line Spots
For national sports retailer Finish Line, A52 recently supported director Tom Kuntz of MJZ and the creatives at Wieden+Kennedy Portland in developing a set of three :15 spots. A52's Andrew Hall and Kirk Balden served as VFX supervisors for the campaign -- and for the spot entitled "UFOs," CGI elements were created by some new A52 3D artists using Maya and Mental Ray for rendering....
THE CREATIVITY E-MAIL, Jul. 14, 2005
Spot of the Day: Nike: Kid Tiger
A young Tiger Woods wins the British Open. VFX: A52 - Los Angeles; VFX Producer: April Killingsworth; VFX Supervisors: Patrick Murphy, Tim Bird.
Hollywood Industry, Jul. 14, 2005
A52's Effects and CGI Chase Runners in Finish Line Spots
Award-winning Los Angeles visual effects and design company A52 today detailed their animation and visual effects work for the new Finish Line broadcast campaign from Wieden+Kennedy in Portland and MJZ director Tom Kuntz. The campaign’s three :15 spots – “Ostrich,” “Eyeballs” and “UFOs“ – recently debuted and will continue airing nationwide over the weeks ahead.... Along with having their work honored in the AICP Show for the sixth consecutive year, other recent A52 awards include the Silver Clio Award for Visual Effects for the team’s work on Cadillac “Turbulence,” three Cannes Ad Festival Bronze Lions and top LA Advertising Club 2005 Belding Awards honors for Pat Murphy’s work on Ground Zero’s History Channel “Know Where You Stand” broadcast campaign, and a 2005 Gold BDA Award for the team’s on-air designs for HBO and Cinemax.
Adjab, Jul. 13, 2005
Finish Line's "Cog" has some fun
Both "Ostrich" and "Eyeballs" were filmed with live action footage. In "UFOs," the runner is really on a treadmill, but the UFOs, laser beam blasts, smoke, and destruction is all CGI effects done by A52, with Tom Kuntz directing and Kirk Baxter of Rock Paper Scissors handling the editing.
CGVisual, Jul. 13, 2005
A52
A52 detailed their animation and visual effects work for the new Finish Line broadcast campaign from Wieden+Kennedy in Portland and MJZ director Tom Kuntz.
Create Magazine, Jul. 13, 2005
A52's Effects And CGI Elements Chase Runners In Stylish Finish Line Spots From Wieden+Kennedy And Director Tom Kuntz
...Along with having their work honored in the AICP Show for the sixth consecutive year, other recent A52 awards include the Silver Clio Award for Visual Effects for the team's work on Cadillac "Turbulence," three Cannes Ad Festival Bronze Lions and top LA Advertising Club 2005 Belding Awards honors for Pat Murphy's work on Ground Zero's History Channel "Know Where You Stand" broadcast campaign, and a 2005 Gold BDA Award for the team's on-air designs for HBO and Cinemax....
Highend 3D, Jul. 13, 2005
A52’s Effects and CGI Elements Chase Runners in Finish Line Spots
A52's new CG supervisor Andrew Hall served as on-set VFX supervisor for this project, fulfilling managing director and executive producer Mark Tobin’s vision in hiring him. Along with Hall’s extensive feature and spot CGI experience, he has also directed and handled VFX on projects. Tobin’s view on the rising importance of CG prompted him to land the world-class animator whose additional skills and talents as an on-set VFX supervisor contributed to this project. “The interesting thing with these spots was creating a very distinct kitsch feel that Tom Kuntz was going for,” Hall explained. “His goal was an off-center feel, reminiscent of the early rear projection footage that Alfred Hitchcock used in his films.”
CreativeChannel Newsletter, Jul. 12, 2005
Member News From Around the World
For national sports retailer Finish Line, A52's team recently supported director Tom Kuntz and the creatives at Wieden + Kennedy/Portland in developing a set of three :15 spots. A52's Andrew Hall and Kirk Balden served as VFX supervisors for the campaign, which features a person in a home gym running on a treadmill before a rear-projection effect kicks in and shows each imaginative fitness enthusiast running for his/her life from, respectively, an Ostrich, a pair of deranged Eyeballs, and a fleet of UFOs attacking a city. Kirk Baxter of Rock Paper Scissors edited.
FXguide, Jul. 11, 2005
A52 shows how just one man can be Massive (Podcast)
To hear Craig “Xray” Halperin, explain it Massive is now a 'brand' name that agency creatives are both writing for and asking for. When the creative team behind the latest Bud spot needed to create a vast event before it happened, A52 were more than happy to get up to speed with Massive software and provide a "massive" set of end shots for the commerical....
Dzine.tv, Jul. 8, 2005
A52 Uses Massive 2.0 to Draw a Crowd for Tool Director Bob Richardson in Patriotic Budweiser Campaign from Waylon Ad
Award-winning Los Angeles visual effects and design company A52 today detailed their animation and visual effects work for a new Budweiser broadcast spot from Waylon Ad in St. Louis. The :60 commercial “Everyday Heroes” debuted widely during high-profile programming on Memorial Day weekend, featuring innovative visual effects feats including the team’s first-ever use of Massive – the artificial-crowd-generating animation system developed specifically to support production on "The Lord of the Rings" movie trilogy....
Cannes Ad Festival, June 27, 2005
Cannes Lions 2005 Film Winners
Jeep "Volcano" from BBDO Detroit, Shortlist, Cars
The History Channel "Berlin" from Ground Zero, Bronze Lion, Publications & Media
The History Channel "Hindenburg" from Ground Zero, Bronze Lion, Publications & Media
The History Channel "Normandy" from Ground Zero, Bronze Lion, Publications & Media
Film&Video Magazine, June, 2005
People & Places
Andrew Hall, formerly a feature- film animation supervisor for Digital Domain (Peter Pan, The Time Machine, How The Grinch Stole Christmas) has joined visual effects and design company A52 as CG Supervisor.
2005 PROMAX & BDA Awards, June 23, 2005
2005 BDA North America Design Awards Winners
HBO Cinemax On-Air ID Campaign, A52, Gold BDA Award
Adjab, Jun. 21, 2005
Budweiser salutes Everyday Heroes
Have you seen the latest Budweiser advertisement, "Everyday Heroes," featuring two teams of Clydesdales making their way across the country to ultimately meet in St. Louis? It's pretty nifty, and concludes with a big crowd waiting to celebrate the teams' arrival at the base of the Gateway Arch. But if you've followed the story on this campaign, that ending isn't quite possible just yet - because these folks aren't supposed to arrive in St. Louis until July 3.... So how'd they get that crowd? Well, visual effects & design firm A52 got a swarm of 200 extras to make their way to the area underneath the Arch, and filmed them in various capacities so as to extrapolate a big crowd as well as show closeups whenever necessary....
Highend3D, Jun. 21, 2005
A52 Uses Massive 2.0 to Draw a Crowd for Tool Director Bob Richardson in Patriotic Budweiser Campaign from Waylon Ad
Award-winning Los Angeles visual effects and design company A52 today detailed their animation and visual effects work for a new Budweiser broadcast spot from Waylon Ad in St. Louis. At the end of April, Anheuser-Busch announced its “Here’s to the Heroes” cross-country tour, sending one 8-horse Clydesdale team from New York and a second from San Francisco – each accompanied by its own mobile television studio – to major cities along the routes to St. Louis, where both teams will meet on Jul. 3. In some 21 cities along the way, citizens participating in tour events can send messages of pride and appreciation to our nation’s troops and take part in other patriotic activities and celebrations. The cinematic “Everyday Heroes” spot tells the story of the tour, crafted by the creative team from agency Waylon Ad and the project’s director, Academy Award-winning cinematographer Bob Richardson of Tool of North America....
HOW Magazine, Jun. 21, 2005
A52 Uses Massive 2.0 to Draw a Crowd for Budweiser
A52's team recently supported Oscar-winning Tool director Bob Richardson and St. Louis' Waylon Ad on a patriotic, cinematic :60 broadcast spot for Budweiser. Entitled "Everyday Heroes," the ad relates the story of Budweiser's "Clydesdales Across America" tour -- and features some surprising CGI and VFX work from our team. Among our feats, to create a crowd of fans celebrating the tour coming together in St. Louis, our 3D animator Craig “Xray” Halperin used Massive -- the Academy Award®-winning AI-based 3D animation system developed in support of the LOTR movie trilogy -- to generate 10,000 animated people surging toward the Clydesdales. www.a52.com for more.
VFXWorld, Jun. 20, 2005
A52 Uses Massive 2.0 for Budweiser Spot
The project’s creative called for a magical glimpse into the future to occur at the spot’s end, featuring a crowd of 15,000 celebrating the tour’s patriotic causes and the two Clydesdale teams coming together in St. Louis. To create that crowd, A52’s 3D animator Craig “Xray” Halperin used Massive version 2.0 to generate a group of 10,000 animated people surging toward the Clydesdales. “Using Massive allowed us to generate the crowds for these shots quickly and interactively,” said Halperin, who learned to use the software over a period of weeks in support of this project. “I showed the client placement and overall motion of the crowd in Massive and was able to instantly make adjustments based on their direction.”...
Hollywood Industry, Jun. 17, 2005
A52 Uses Massive 2.0 to Draw a Crowd for Budweiser Campaign
Award-winning Los Angeles visual effects and design company A52 today detailed their animation and visual effects work for a new Budweiser broadcast spot from Waylon Ad in St. Louis. The :60 commercial “Everyday Heroes” debuted widely during high-profile programming on Memorial Day weekend, featuring innovative visual effects feats including the team’s first-ever use of Massive – the artificial-crowd-generating animation system developed specifically to support production on "The Lord of the Rings" movie trilogy. The spot will continue airing through Jul. 4....
Boards Online, Jun. 7, 2005
Screening Room: Coldplay - Speed Of Sound
Anonymous Content's Mark Romanek takes his fascination with elaborate lighting rigs to new extremes in the first video from Coldplay's X&Y. VISUAL EFFECTS COMPANY: A52.
Hollywood Industry, Jun. 6, 2005
Coldplay's Speed of Sound Features Effects from A52
“The idea was to try and mirror the ecstatic nature of the band's music using light and color,” Romanek explained. “The A52 team was extremely helpful in creating a consistency to the look of the piece, and in exploring some other aesthetic options.”
MVWire, Jun. 3, 2005
Coldplay's "Speed Of Sound" Music Video From Director Mark Romanek Features Effects From A52
Emmy Award-winning Los Angeles visual effects and design company A52 today announced details of their visual effects work for Anonymous Content director Mark Romanek for Coldplay’s new music video for “Speed of Sound.” The Times of London reports that the song – the first release from the band’s new EMI album “X&Y” which is due out on June 6 – is currently the world’s fastest-selling download. The new music video debuted on MTV on May 23....
SHOOT, Jun. 3, 2005
Ground Zero Tops Belding Competition
Ad agency Ground Zero, Los Angeles, scored the top two honors -- the Sweepstakes and Best Book prizes -- at the 39th annual Los Angeles Advertising Club's Belding Awards last week (5/26) during a gala ceremony in Hollywood. Ground Zero took the best-of-show Sweepstakes kudo on the strength of The History Channel's "Normandy," in which a contemporary French woman and child are seen at the beach, playing in the water. Pictured in full color, the mother and child are soon surrounded by black-and-white documentary footage of the World War II Normandy invasion. "Normandy" was directed by Patrick Murphy, a visual effects supervisor at A52 Los Angeles, which produced the campaign's broadcast spots and handled special effects....
CreativeChannel Newsletter, Jun. 1, 2005
Member News From Around the World
The team from A52 just reunited with Anonymous Content director Mark Romanek for a music video for Coldplay and their new single, Speed of Sound. Edited by Adam Pertofsky of Rock Paper Scissors, A52's team was led by VFX supervisor Pat Murphy, who helped to explore numerous aesthetic options. Mark Tobin executive produced, Scott Boyajan and Ron Cosentino shared producer duties and VFX artists Tim Bird, Justin Blaustein and Ben Looram also contributed their talents. RPS's team included executive producer Linda Carlson, producer Kelly Garcia and assistant editor Charlie Lee.
Clio Festival, May 24, 2005
Clio Award Winners
The History Channel Campaign from Ground Zero, Shortlist, Media Promotion
Cadillac "Turbulence" from Chemistri, Silver Clio, Visual Effects, Television/Cinema
Computer Graphics World E-Newsletter, May 19, 2005
INDUSTRY NEWS: A52 Announces Addition of Andrew Hall
Emmy Award-winning Los Angeles visual effects and design company A52 has announced that Andrew Hall, formerly a feature film animation supervisor for Digital Domain, has joined its team in the position of CG Supervisor, effective immediately....
HOW Magazine, May 10, 2005
A52 Lands Digital Domain Animation Supv.
Today, Mark Tobin -- managing director and executive producer for LA-based Emmy Award-winning VFX and design company A52 -- announced that Andrew Hall, a former feature film animation supervisor for Digital Domain who began his career at London's The Motion Picture Company, has joined A52's team in the position of CG Supervisor, effective immediately. Andrew's extensive credits on some of the most prestigious motion pictures in recent history and on scores of high-profile TV commercials -- complemented by his extensive experience as a VFX supervisor --are sure to benefit A52's clients in countless ways. "Although our CG department is small," Tobin explained, "between Andy and Denis Gauthier, we now offer animation, lighting and rendering capabilities that are truly beyond compare. ...As CG becomes increasingly important, it's wonderful to have a world-class animator who also has the skills and talents to contribute effectively on-set to supervise visual effects."
Computer Graphics World, May 5, 2005
A52 Announces Addition of Andrew Hall
...Hall looks forward to utilizing his technical and artistic knowledge from his CG background, directing A52's talented team of artists -- and also using his live-action directing and visual effects supervision skills, which he says have allowed him to better work with clients and directors....
Dzine.tv, May 5, 2005
Former Digital Domain Feature Film Animation Supervisor Andrew Hall to Supervise A52's CG Department
“The opportunity for CG to really take off in the creative world is imminent, and A52 wants to capitalize on that,” Andrew said. “The idea of building a CG department that will be an integral part of the overall business was very attractive to me. To be able to strategically work with Mark and Angus Wall to build a team that will be capable of creating the finest CG work was too appealing to pass up. The work that A52 does already is tremendous, and I'm really looking forward to contributing to that great work.”
Film&Video Magazine, May 4, 2005
Andrew Hall Joins A52 as CG Supervisor; Hall previously served as feature film animation supervisor at Digital Domain
"Clients that come to A52 will always work with an extraordinary team, and Andy's unique combination of talents makes him a great addition," explained Mark Tobin, A52's managing director and executive producer, "In the past, the role of VFX supervisor has typically been in the 2D realm, but as CG becomes increasingly important, it's wonderful to have a world-class animator who also has the skills and talents to contribute effectively on-set to supervise visual effects."
VFXNewswire, May 4, 2005
Andrew Hall to Supervise A52's CG Department
VFXWorld, May 2, 2005
Andrew Hall to Supervise A52's CG Department
Hall began his career at London's The Motion Picture Co., earning the title of senior animator and working on numerous TV commercials and features, including THE ENGLISH PATIENT, TOMORROW NEVER DIES, RICHARD III and THE MIRACLE MAKER. Hall then spent six years as animation supervisor for Digital Domain, where his feature film credits included PETER PAN, THE TIME MACHINE, HOW THE GRINCH STOLE CHRISTMAS, O BROTHER WHERE ART THOU and LAKE PLACID, as well as a long list of prestigious commercials and network on-air IDs. Since early 2004, Hall served as vfx/animation supervisor at CreoCollective, handling vfx supervision on many projects, and also serving as animation supervisor on high-profile jobs, including David Cornell's 2004 HD SONY DREAMS project. At CreoCollective, he also directed a vfx-intensive cancer research spot for Johns Hopkins Medicine....
Computer Graphics World, April 2005
Super Spots; This year’s Super Bowl commercials entertained with subtle digital effects
Visual effects and design company A52 coupled explosive visual effects with a cute kid to sell Nationwide Insurance’s “Science Project” spot, shown to a regional Super Bowl audience. In this latest commercial in an ongoing series, a boy’s homemade robot goes haywire, eventually blowing up the family car with Hollywood flare, much to the surprise of the youngster and his parents....
Creativity, Apr., 2005
The Ad + Design Annual: Broadcast: NIKE "MAGNET"
Lance Armstrong becomes the cycling Pied Piper on this particular journey, gorgeously directed by Jake Scott. As he speeds through various landscapes, he becomes a human magnet, drawing Harley riders, buffalo, a flock of birds. A soothing folksy tune from Elias helps to set the spot's appropriately intimate tone Editor: Angus Wall/Rock Paper Scissors, L.A. Effects: A52 VFX Supervisor: Patrick Murphy...
LA411, April 2005
CGI Commercial Comedy: How hard is it to get laughs through CGI?
Maybe you’ve seen the spots: a young boy builds a robot for a science project. The boy introduces the robot to his parents and as the robot waves, the parents look at each other, beaming with pride over their son’s creation. In the next moment, chaos ensues as the robot turns nasty, shooting laser beams from his eyes causing fiery explosions throughout the garage and finally blowing up the family car. The explosions and laser beams created in this Nationwide Insurance :30 spot, which first aired during the super bowl, were created using Discreet Flame and Side Effects Software’s Houdini by visual effects specialists at A52. Creative director from TM Advertising, Jay Russell confesses that he’s always concerned when it comes to getting a comedic payoff through CGI. The trick, he says, is to make sure that the CGI is invisible so that the viewer doesn’t think about the visual effect and simply watches the commercial letting it take them naturally to the conclusion. “Like all great effects work, you don’t notice the effects, you just laugh at the idea and buy it hook, line and sinker. The effects blend perfectly on all the spots.”
IdN: International designers Network, Volume 11 Number Four, International Edition
Pick of the Month: After(math) effects
West Hollywood visual-effects and design company A52 has come up with a stunning music video for R.E.M.'s Aftermath. Directed by Peter Care, it features some technologically impressive stuff, such as the scene where the veteran American garage rockers look as if they're literally breaking up, or a live TV feed is being disrupted by external interference. And the music on this second single release from R.E.M.'s latest album Around the Sun is great, too.
Dzine.tv, Apr. 29, 2005
A52 Infuses TBWA\CHIAT\DAY's Infiniti M Campaign With Extraordinary CGI Art
Throughout the campaign, the new M45’s curves and contours are drawn in the air with lights to highlight the car’s artistic design. In “Dusk,” after lights trace-out circles from a black background, the M45 is then revealed driving through the desert. Another angle on the car is introduced by lines tracing it from the side, before the driving vehicle itself appears in the picture....
FXGuide.com, Apr. 29, 2005
A52 Infuses Infiniti M Campaign with Extraordinary CGI Art
The Emmy Award-winning team from A52 recently completed some phenomenal design, animation and visual effects work for the 2006 Infiniti M campaign from TBWA Chiat Day in Los Angeles. Director Daniel Barber's campaign spots entitled “Dusk” and “All Wheel Drive” recently debuted, featuring environments created entirely in CGI -- as well as CGI light flourishes which are widely being used in the agency’s print and outdoor elements of the nationwide campaign.
Pluginz.com, Apr. 29, 2005
Andrew Hall to Supervise A52's CG Department
Emmy Award-winning Los Angeles visual effects and design company A52 today announced that Andrew Hall, formerly a feature film animation supervisor for Digital Domain, has joined its team in the position of CG Supervisor, effective immediately.
shots, Apr. 27, 2005
ON THE MOVE
Los Angeles-based visual effects and design company A52 has hired Andrew Hall as CG supervisor. Hall was previously a feature film animation supervisor for Digital Domain.
Boards Online, Apr. 26, 2005
Industry highlights and people moves
LA visual effects and design company A52 hired Andrew Hall as CG supervisor. Hall was formerly a feature film animation supervisor at Digital Domain and has also worked at now-defunct CreoCollective and London's The Moving Picture Company, where he began his career.
Highend3d.com, Apr. 26, 2005
TBWA\Chiat\Day’s Infiniti M Campaign Features A52's CGI Art
A52’s team was especially enthused to see their CGI light flourishes being put to such prominent use across the cross-platform campaign. The outdoor ad features their CGI light outlines tracing the side view of the M45 – which the team output at a resolution of 7000x9000 pixels. “This is the first time I’ve ever seen a campaign that uses all the CGI from the same source, where it looks exactly the same from the TV spot to the billboards to the cover of the brochure,” Gauthier said. “Seeing it done so seamlessly is very impressive.” TBWA\Chiat\Day’s project credits include global creative director Rob Schwartz, creative director Tor Myhren, art director Scott Brown and producers Richard O’Neill and Mai Huynh. Production was overseen by Rockfight’s executive producer Ned Brown and line producer Matthew Brown. Steve Chivers served as director of photography. The editorial team from LA’s Rock Paper Scissors included editors Angus Wall and JD Smyth and executive producer Linda Carlson, and A52’s team also included executive producer Mark Tobin, producer Ron Cosentino and online editors Tim Bird and Ben Looram....
DMN Newsletter, Apr. 25, 2005
A52 Gives Infiniti M Campaign Extraordinary CGI Art Look
Emmy Award-winning Los Angeles visual effects and design company A52 today detailed their design, animation and visual effects work for the new Infiniti M campaign from TBWA\Chiat\Day in Los Angeles.
Pluginz.com, Apr. 25, 2005
A52 Infuses TBWA\Chiat\Day’s Infiniti M Campaign With Extraordinary CGI Art
Much to the surprise of most who see 'Dusk', the filmed car & some photographic light strokes are its only live-action elements....
Digital Producer, Apr. 23, 2005
A52 Gives Infiniti M Campaign Extraordinary CGI Art Look
Through LA-based production company Rockfight, Barber meticulously photographed the M45 on a conveyor belt in front of a blue screen, using a motion control rig to capture sweeping camera moves of the car with its wheels turning, and using an experimental, open-shutter technique to create scintillating lines of light that float above the car’s surface. A52’s team tracked the vehicle in the live-action passes, then created a CGI version of the vehicle in matching scenes where they’d rendered-in the moving desert background, complete with lighting and appropriate shadows. The team reflected all the CGI lighting and scenery in the CGI model of the M45. In the finished composition, A52’s Pat Murphy used Autodesk’s Inferno to seamlessly layer together the live-action photography and the photographic light strokes Barber created with the CGI background and the digitized car....
THE CREATIVITY E-MAIL, Apr. 22, 2005
Additions at A52 and Saville, plus other moves
Andrew Hall, formerly VFX and animation supervisor at CreoCollective, has joined L.A. effects house A52 as CG supervisor.
VFXWorld, Apr. 22, 2005
A52 Infuses Infiniti M Campaign With CGI Art
A52 has finished design, animation and visual effects work for the new Infiniti M campaign from TBWA\Chiat\Day in Los Angeles. Two campaign broadcast spots, DUSK and ALL WHEEL DRIVE, recently debuted, featuring environments created completely in CGI, as well as CGI light flourishes which are widely being used in the agency’s print and outdoor elements of the nationwide campaign....
Adjab.com, Apr. 21, 2005
Infiniti: The New M
Emmy Award-winning Los Angeles visual effects and design company A52 today detailed their design, animation and visual effects work for the new Infiniti M campaign from TBWA\Chiat\Day in Los Angeles. Much to the surprise of most who see "Dusk," the car and some photographic light strokes filmed by project director Daniel Barber are its only live-action elements. CG supervisor Denis Gauthier and his fellow A52 artists Westley Sarokin, Craig "X-Ray" Halperin and Josh Kolden, Gauthier employed Houdini to create and render the 360-degree desert environment that included some six million branches of sagebrush, the highway, gravel, puddles, fences, signposts and more....
VFXPro.com, Apr. 20, 2005
A52 Infuses Infiniti M Campaign With CGI Art
Emmy Award-winning Los Angeles visual effects and design company A52 today detailed their design, animation and visual effects work for the new Infiniti M campaign from TBWA\Chiat\Day in Los Angeles. Much to the surprise of most who see "Dusk," the car and some photographic light strokes filmed by project director Daniel Barber are its only live-action elements. CG supervisor Denis Gauthier and his fellow A52 artists Westley Sarokin, Craig "X-Ray" Halperin and Josh Kolden, Gauthier employed Houdini to create and render the 360-degree desert environment that included some six million branches of sagebrush, the highway, gravel, puddles, fences, signposts and more....
CreativeChannel Newsletter, Apr. 20, 2005
Member News From Around the World
The new Infiniti M spot, Dusk features some electrifying animation. Directed by Daniel Barber of Rock Fight, the elegant commercial speaks volumes for the car. Rounding it were executive producer Ned Brown and producer Matthew Brown. Telecine was handled by Company 3 and colorist Stefan Sonnenfeld; Rock Paper Scissors took on editorial duties with editors Angus Wall and JD Smyth at the helm; music from Elias Arts and composer David Wittman; and lastly special effects by A52 with a large team headed by inferno artist Patrick Murphy, online editors Tim Bird and Ben Looram, and 3D artists Denis Gauthier, Westley Sarokin, Craig Halperin and Josh Kolden.
THE CREATIVITY E-MAIL, Apr. 18, 2005
Dunkin' Donuts Cools Down for Spring
Dunkin' Donuts begins pushing its line of iced coffee drinks this week with the first in a series of spots from Boston agency Hill, Holliday and Partizan director Paul Goldman. Based around the tag "Bring Yourself Back," one new spot shows mannequins being brought back to life with cool lattes, while another shows a pair of students literally dropping in for some much needed refreshment. Five more spots will debut throughout the summer, three more directed by Goldman and two directed by Partizan roster mate Jim Hosking. VFX: A52 - Los Angeles.
CreativeChannel Newsletter, Apr. 6, 2005
Member News From Around the World
A52 has gotten themselves a new CG Supervisor. Formerly a Digital Domain-er, Andrew Hall now joins the talented group at A52. Hall's feature film credits include Peter Pan, The Time Machine, How the Grinch Stole Christmas, Oh Brother Where Art Thou and Lake Placid - as well as a long list of prestigious commercials and network on-air IDs.
Dzine.tv, Mar. 31, 2005
A52 Perfects Dramatic Lexus 'Button'
Emmy Award-winning Los Angeles visual effects and design company A52 today detailed their visual effects work for the new Lexus “Button” broadcast campaign from Team One in Los Angeles. The package, consisting of the spots “Button/Reveal,” “Button/Ice” and “Button/Ocean,” was created by renowned director Bruno Aveillan via bicoastal Believe Media, and each continues airing widely during national high-profile network and cable broadcasts....
Hollywood Industry, Mar. 30, 2005
A52 Perfects Dramatic Lexus "Button" Broadcast Spots
“Lexus is such a high-quality product, when you do a Lexus spot you really do have to do everything first class,” said Team One’s project associate creative director and art director James Hendry. “Along with my partner, copywriter Kathy Hepinstall, and Jack Epsteen, our incredibly creative executive producer who's extremely involved in the creative process, we all knew what we wanted. It started with the great script, then Bruno brought so much vision to it. Also, we always knew that A52 would be involved, and that whatever Bruno did, A52 would perfect.”
Create Magazine, Mar. 29, 2005
A52 Perfects Dramatic Lexus "Button" Broadcast Spots from Team One Advertising and Director Bruno Aveillan
Together with the agency's team, Aveillan led director of photography Phillipe Le Sourd and the rest of his production crew to Vancouver to film their art gallery scenes. The crew also traveled to a 10,000 year-old glacier in British Columbia to shoot ice cave footage, then flew to Oahu, Hawaii, to roll cameras seventy feet below the surface for the "Ocean" source material. "You always go into a project like this trying to make it look like a feature film, and I think Bruno really did capture it," Hendry explained. "Like on any good shoot, you try a lot of things on the day, and when it came time for post, there were a few things that we entrusted to A52. What's great about A52 is that they were there every step of the way. It was tremendously difficult conditions to shoot under, so what we were able to do with A52 was to finish what we needed. We took it as far as we possibly could given the tremendous commitment and the obstacles of shooting in these far-flung locations, and A52 took what we did and brought it to life." Continuing, Hendry added, "I think what we enjoy about working with A52 is that they're incredibly professional, but they're also perfectionists. Nothing comes out that isn't right."
Highend3D, Mar. 29, 2005
A52 perfects Bruno Aveillan's Lexus GS 'Button' campaign
The campaign’s high-level creative is connected to the vehicle’s SmartAccess system, which enables Lexus GS owners to start their car simply by pressing their SmartAccess’ Start button. That idea is dramatically embedded in the three spots, each of which uses stylized, cinematic approaches to illuminate the beauty, speed and power of the new GS. The high-tech, stylish “Reveal” spot highlights the car’s beauty, “Ice” showcases its power and “Ocean” conveys its speed. Each spot was edited by award-winning editor Adam Pertofsky of LA’s Rock Paper Scissors. “Lexus is such a high-quality product, when you do a Lexus spot you really do have to do everything first class,” said Team One’s project associate creative director and art director James Hendry. “Along with my partner, copywriter Kathy Hepinstall, and Jack Epsteen, our incredibly creative executive producer who's extremely involved in the creative process, we all knew what we wanted. It started with the great script, then Bruno brought so much vision to it. Also, we always knew that A52 would be involved, and that whatever Bruno did, A52 would perfect.”
Newgraph, Mar. 29, 2005
A52 perfects Bruno Aveillan's Lexus GS 'Button' campaign
A52’s VFX team, including inferno artists Simon Brewster and Tim Bird and producer Scott Boyajan, ultimately handling myriad compositing, cleanup and visual effects feats for each campaign spot in post.
Highend3D, Mar. 4, 2005
A52 Builds Nationwide Insurance "Science Project" for TM Advertising and Director Frank Todaro
Also including the spots “Ceiling Fan,” “Draft Day” and “Hammer,” the new campaign reunites much of the team behind last year’s successful Nationwide campaign, which was short-listed at the Cannes Lions International Advertising Festival and was also honored among Adweek’s Best Spots of April, 2004. Carrying over from the last round are Frank Todaro, director of photography Toby Irwin, A52’s team, Rock Paper Scissors’ editor Adam Pertofsky and TM Advertising’s group creative directors Wade Alger and Jay Russell and agency producer Florence Babbitt.
Digital Producer, Mar. 3, 2005
A52 Builds Nationwide Insurance Science Project
Emmy Award-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for Nationwide Insurance’s newest broadcast campaign from TM Advertising in Irving, Texas. The four-spot package was created by award-winning director Frank Todaro via bicoastal Moxie Pictures, and the :30 “Science Project” – which debuted on Feb. 6 in over 30 U.S. markets during Fox’s broadcast of the Super Bowl and will continue airing at least until April – features the most overt work from A52’s team.
Videography, Mar. 3, 2005
A52 Builds Nationwide Insurance "Science Project"
The humorous “Science Project” spot features a young boy showing his homemade robot to his parents, when the cute contraption suddenly goes dangerously haywire. A52’s team employed Discreet Flame to composite visual effects elements including interactive light passes and special effects explosion plates – as well as CG laser beams created in-house by A52’s in-house team using Side Effects Software’s Houdini and Pixar’s Renderman for rendering...
Creativity, Feb., 2005
Everything is Illuminated
When digital effects artists have the skill to create characters and sets from virtual thin air, it's almost a shock when you learn that an impressive and easy to animate effect was captured in-camera. In the case of "Liquid Light," a spot for Nissan's Fuga from TBWA\Chiat\Day in L.A. and Tokyo currently airing in Japan, that was the case, but the main tasks performed by A52's Inferno artists were stitching footage together, not animating effects....
Adweek, Feb. 22, 2005
Best Spots of January: Nationwide | "Ceiling Fan"
At first glance, this would appear to be a spot for a home-improvement store, as we see a couple shopping for a ceiling fan and then installing it themselves. When they flip the switch to turn it on, fire engulfs the room. "Life comes at you fast. Be ready with Nationwide." Visual effects: A52, Los Angeles.
Yahoo! Finance, Feb. 7, 2005
Advertisers Score Winning Touchdown With Discreet's Technology During Super Bowl XXXIX
Discreet, the media and entertainment division of Autodesk, Inc. (Nasdaq: ADSK - News) helped Super Bowl advertisers into the end zone during last night's broadcast. When fans weren't watching the battle between the New England Patriots and the Philadelphia Eagles on the field, they watched many spots created with Discreet's industry leading visual effects, editing/finishing and 3D solutions. A recent poll conducted by the Retail Advertising and Marketing Association found that among the coveted American 18-to-24 year-old demographic, 24.5% tune into the Super Bowl primarily to watch spots. With millions of viewers from around the world, spots made with Discreet's solutions commanded attention. A52, an Emmy Award-winning Los Angeles-based visual effects and design company, used Discreet's flame(R) visual effects system on the Nationwide Insurance "Science Project" spot. In the spot, much to the surprise of a young boy and his parents, a home-made robot goes dangerously haywire. The spot features the talents of VFX artist Simon Scott, who used Discreet's flame system to composite several visual effects elements, including computer-generated laser beams created by A52's 3D artist Craig "X-Ray" Halperin. Scott also used the flame system to marry other visual effects plates into the spot, such as interactive light and explosion passes. "Discreet's flame system is still the obvious choice for high-end visual effects work. It allowed us to deliver a complex spot on a compressed schedule," said Scott. "Science Project" was directed by Frank Todaro via bicoastal Moxie Pictures for Temerlin McClain Advertising in Texas....
THE CREATIVITY E-MAIL, Feb. 2, 2005
THE LATEST: Lincoln - Charity
VFX: A52 - Los Angeles.
CreativeChannel Newsletter, Jan. 26, 2005
Member News From Around the World
A52 recently worked with Park Pictures director/DP Lance Acord on a package of new spots for Nike via Wieden + Kennedy/Tokyo. Most of the various :15 spots featured in the :60 Play/Win, debuted across Asia earlier this month. The spots feature amateur athletes, along with international star Ronaldinho, playing soccer in various urban settings. A52's work, handled mostly by VFX artist Scott Johnson, involved rotoscoping, compositing, clean-up and color-grading to complement the edit from Mad River Post' Lucas Eskin. Music and sound design was tackled by Elias Arts and sound designer Jay Nierenberg.
Digital Producer, Jan. 10, 2005
A52 Adds Finishing Touches to High-Powered Cadillac Spots
Los Angeles visual effects and design company A52 today detailed their role in handling visual effects for a pair of high-powered new Cadillac broadcast spots from chemistri in Detroit. Directed by Daniel Barber via Rock Fight in Los Angeles, the first :30 entitled “Marquee” debuted earlier in Dec., and “Asphalt,” the second :30, premiered on Dec. 15. Filmed in various locations in downtown Dallas, both spots were crafted by Barber and Rock Paper Scissors editor JD Smyth to dramatically showcase the raw power and the fun of driving the new Cadillac STS. In “Marquee,” a lucky driver races through the deserted city, approaching an illuminated marquee that reads, “Performance and luxury don’t mix.” As the car speeds by, the sign’s light bulbs explode. In “Asphalt,” the vehicle aggressively wends its way toward an “Only imports are fun to drive” painting on the ground, then does a power skid right across the words....
CreativeChannel Newsletter, Dec. 20, 2004
Member News From Around the World
Two news spots for Cadillac via chemistri are making the rounds. Directed by Daniel Barber of Rock Fight, Marquee and Asphalt showcase the raw power and fun of driving the new STS. Rounding it out for RF were executive directors Ned Brown & Melissa Culligan as well as producer Matt Brown. Colorist Stefan Sonnenfeld weighed in for Company 3; Rock Paper Scissors and editor JD Smyth took on editorial; and visual effects were provided by the talented folk at A52, Inferno artist Tim Bird and online editor Ben Loorham.
Creativity, Nov., 2004
Buddy Lee's Big Idea
Visual Effects: A52.
Millimeter, Nov., 2004
Cool Graphics: EA Sports Broadcast Spots for “Madden NFL 2005”
Production: HSI Productions, Los Angeles and New York. Director: Josh Taft. DP: Don Davis. Visual Effects: A52, West Hollywood. Effects Artists: Lisa Tomei, Marguerite Cargill. Colorist: Steve Rodriguez, Company 3, Santa Monica, Calif. Editorial: Mad River Post, San Francisco.
POST Magazine, Nov., 2004
Pretty Woman dominates Lee's latest ad
SANTA MONICA, CA - Terminal's Jonathan Del Gatto recently edited a new, visual effects-infused commercial for Lee Dungarees. Conceived by Fallon/Minneapolis, the "Pretty Woman" spot was directed by Partizan's Paul Goldman and was shot on location in Buenos Aires. The :30 commercial opens with a giant woman walking through an urban cityscape, all to a hard rock remix of the popular Roy Orbison track. As she makes her way through the city, the woman steps on cars and snaps high-wire cables, unaware of her wake of destruction. She spots a young man in Lee jeans getting dressed in his apartment and grabs a painter's brush, leaving her phone number on the side of a building, suggesting that he calls her. The man is surprised by what he sees, but not intimidated. The spot closes with the tag, "No matter what happens, don't flinch," along with the Lee Dungarees logo. Del Gatto cut the commercial on an Avid, with Rebecca Beluk assisting. Fergus McCall at The Mill in New York provided color correction using a Spirit system. Visual effects were handled by A52 in West Hollywood with Patrick Murphy serving as lead Discreet Inferno artist. Lisa Tomei also provided visual effects with Scott Johnson supervising. Ron Cosentino was VFX producer.
Design In Motion, Nov. 30, 2004
A52's Effects Work on R.E.M. 'Aftermath'
Los Angeles visual effects and design company A52 today announced details of their visual effects work for Bob Industries and director Peter Care for R.E.M.’s new music video for “Aftermath.” The second release from their new album “Around the Sun” released in early Oct., the new music video debuted in the U.K. on Nov. 4. “The main idea was to have Michael, Mike and Peter walk through London, with Michael lip-syncing the song as he walks,” explained Care, who is renowned for pioneering innovative creative approaches in his work, having often employed experimental techniques throughout an illustrious career which has already earned him the Clio, Bronze Palm d'Or and MTV Video Awards, among many others. “Because R.E.M. are on tour in the USA, we decided to use composites of the band shot against a green screen with views of London as back plates,” Care continued....
Digital Post Production, Nov. 30, 2004
A52's High-Tech Artifacts Effect New R.E.M. Aftermath Video
While A52 is renowned for its seamless compositing and effects, in this case, the goal was a finished piece where the compositing and effects were obvious. For example, all efforts to smooth the compositing of band members into background footage were intentionally avoided. To that end, Wall handled all the green-screen compositing himself in his Avid Adrenaline system. However, to incorporate the additional looks Care desired into the finished project, Sarokin worked with both director and editor to develop several unique effects in Discreet Flame. "Many hours of effort were wasted because of the experimental aspect to the work," Care said, "but Westley never lost his sense of commitment as an artist and collaborator." "As the edit evolved," Sarokin said, "Angus would send me the latest version, then I would run it through all these different looks I'd set up, then he'd take it back and start cutting in the pieces with the various looks." Among the results of Sarokin's experimentations were a satellite-breakup effect, random mosaic color swathes and monochrome and saturated color treatments. The satellite- breakup effect - where certain sections of the picture stutter and break-up - involved several different proprietary techniques aimed at generating interesting digital artifacts while still maintaining composition and form. To generate the mosaic graphic objects, Sarokin used a simple mathematical expression in Flame that randomized the blocks' colors and their placements in space and time throughout the video. When all was said and done, Care added, "Having Angus cutting while Westley worked in parallel with us was a perfect way to create this groundbreaking video."
Music Video Wire, Nov. 30, 2004
A52's High-Tech Artifacts Effect New R.E.M. "Aftermath" Music Video From Director Peter Care
Los Angeles visual effects and design company A52 today announced details of their visual effects work for Bob Industries and director Peter Care for R.E.M.’s new music video for “Aftermath.”
VFXPro, Nov. 30, 2004
A52 Experiments on R.E.M. 'Aftermath' Video
Los Angeles visual effects and design company A52 today announced details of their visual effects work for Bob Industries and director Peter Care for R.E.M.’s new music video for “Aftermath.” Care explained that the song's theme of ascension is illustrated using views of many other cities shot from ascending glass elevators, with the horizontal journey covering the verses and the vertical journey occurring within the choruses. Interestingly, the cityscape footage taken from glass elevators was shot by some 26 freelance videographers in cities throughout the world using Mini-DV camcorders. “We felt that shooting on DV was highly appropriate,” Care said of the approach. “We wanted the video to feel unforced, effortless, fun. This also made it easier for people in other countries to shoot from elevators.” To compile the piece, editor Angus Wall of Rock Paper Scissors first began selecting shots of the band, matching them to the background plates of London and then sorting through hours and hours of elevator shots to select key moments. As the editorial process proceeded, Care and Wall turned to A52 visual effects artist Westley Sarokin to help implement another technical idea into their creative palette. As Care explained, that idea was, “to make some parts of the video look like they're breaking up – as if the ‘live television feed’ was being intermittently disrupted.”...
CreativeChannel, Nov. 15, 2004
FOCUS ON: A52's Patrick Murphy
Upon first encountering A52’s visual effects supervisor and Inferno artist Pat Murphy, expect to encounter an unassuming, soft-spoken, bright, young gentleman whose passion focuses almost exclusively on creating new visual content that meets his own impeccable standards. Since joining A52 in 2000, Murphy has earned a central role in various high-profile project scenarios. As a result, he’s now finding that incredibly daunting challenges always wait around the next corner....
Creativity, Oct., 2004
Showcase: Automotive Advertising
Hummer Is Actually Hummin'
We hate to like anything associated with the Hummer, possibly the most obnoxious consumer vehicle in the entire history of the Internal Combustion Era, but these very cool "Jungle" and "Scanner" spots are for Hummer's new, slightly less repellent sport utility truck, so we'll let 'em slide. They're consummately artsy in that no VO, no road footage manner, featuring music video-style music, too. In fact, the "Scanner" track is LFO's "Freak," while the "Jungle" track is "Enter Space Bar," by Trebant. Client: Hummer; Agency: Modernista; CD/CWs: Gary Koepke, Shane Hutton; CD/ADs: Lance Jensen, Will Uronis; Agency Producer: Charles Wolford; Director: Arni & Kinski/HSI; Editor: Adam Pertofsky/Rock Paper Scissors; Effects: Simon Scott/A52.
POST Magazine, Oct., 2004
A52 wins Emmy for Carnivale's titles
WEST HOLLYWOOD, CA - Visual effects and design company A52 was recognized at the 56th Annual Emmy Awards for its work on HBO's original dramatic series "Carnivale." The studio garnered an Emmy for "Outstanding Main Title Design." A52's artistic tarot card exploration combines 2D and 3D animation and visual effects. High-resolution scans of famous art was separated into foreground and background elements, then assembled into 2.5D sequences inside Side Effects' Houdini software. Motion sequences were edited to highlight historical events. The entire :90 piece was assembled in Discreet Inferno and finished in high definition. Credits include creative director Angus Wall, executive producers Rick Hassen and Darcy Leslie Parsons, senior producer Scott Boyajan, visual effects supervisors/Inferno artists Patrick Murphy and Simon Brewster, designers Vonetta Taylor, Ryan Gibson and Jesse Monsour, and 3D animators Denis Gauthier, Westley Sarokin and Jeff Willette.
Graphic Design USA, Oct., 2004
Seen & Noted
A 30-second spot by Modernista! for the new Hummer Sport Utility Truck leans heavily on broadcast design studio A52 for a kaleidoscope montage segment. The segment shows the vehicle driving down a tree-lined road at night past a line of Aspen trees. A52 did the work for directors Arni and Kinski and visual effects supervisor Simon Scott. Modernista!’s team includes creative directors Lance Jensen and Gary Koepke, creative directors Will Uronis and Shane Hutton, and executive producer Charles Wolford.
SHOOT, Oct. 29, 2004
Terminal Doesn't Flinch For Lee Jeans Or Fallon
Set to a remix of Roy Orbison's "Pretty Woman," the :60 opens on a beautiful giant woman walking down a city street, wreaking havoc wherever she goes: crushing cars, scaring pedestrians and downing power lines. As she strolls down the boulevard, a poster of Lee icon Buddy Lee can be seen on one of the buildings. A young man sporting Lee Dungarees jeans and watching television in his apartment catches the woman's eye and she stops to check out her reflection in a skyscraper, adjusting her dress and fixing her hair. She then taps on the man's window, borrows a paintbrush from a stunned worker, and writes her phone number on a billboard. She gestures for the young man to call her, before walking off into the sunset. "Pretty Woman" ends with the tagline, "No matter what happens, don't flinch," and the Lee Dungarees logo. POST/VISUAL EFFECTS: A52, West Hollywood. Lisa Tomei, visual effects artist; Patrick Murphy, lead Inferno artist; Scott Johnson, visual effects supervisor/artist/ online editor; Mark Tobin, executive producer; Ron Cosentino, visual effects producer.
SHOOT, Oct. 22, 2004
A52 Plays "D" For EA Sports
Two :30s introduce EA Sports' "Madden NFL 2005" video game, and feature Baltimore Ravens linebacker Ray Lewis. In "Here We Come," Lewis trash-talks while waiting on defense for the ball to be put in play. "Fear the D" shows the Ravens defense lining up to stop the Tennessee Titans' offense in a short-yardage situation. Amid his verbal taunts, Lewis literally pulls the yellow first-down stripe off the field and moves it back 10 yards, proclaiming, "This belongs to the defense!" POST/VISUAL EFFECTS: A52, Los Angeles. Mark Tobin, executive producer; Lisa Beroud, producer; Lisa Tomei, lead effects artist/online editor; Westley Sarokin, visual effects shoot supervisor; Marguerite Cargill, effects artist.
MediaPost's Out to Launch, Oct. 20, 2004
A52
...and Modernista collaborated on a recent campaign for the Hummer SUT. "Jungle" features an infrared POV traveling through a jungle, leading to the discovery of the new Hummer. "Scanner" begins with a photograph of the new SUT being photocopied, then transitions to a kaleidoscopic montage showing the SUT driving down a tree-lined road at night.
Adweek, Oct. 18, 2004
Best Spots of September: Lee Jeans | "Pretty Woman"
To the sounds of Roy Orbison's "Pretty Woman," a giant supermodel-looking woman walks through a city, stepping on cars and taking down power lines in her path. She checks her reflection in the windows of an office high-rise. She continues on her way until she spots the guy for her, who of course is wearing Lee Jeans while minding his own business in his apartment. She paints her phone number on the side of the building as Buddy Lee watches the action from a giant billboard. Call and you'll hear a message from "Natalia." Visual effects: A52, Los Angeles.
Design Jungle (Korea), Oct. 8, 2004
The Magnet
SHOOT, Oct. 8, 2004
Along For The Ride; Car ads are becoming more effects driven
...…A52, Los Angeles, crafted visual effects for Cadillac's "Turbulence," directed by Nic Mathieu of Anonymous out of chemistri. In the visually striking spot, four cars burst into an imaginary pocket of water from four different directions. As each car speeds along, a jet stream of water trails off of the vehicles. "The trickiest part was getting the turbulence to work with each individual car," says Patrick Murphy, visual effects supervisor/Inferno artist on the spot. Additionally, a live-action shoot presented the challenge of getting the individual lighting for each car just right. Back at A52's offices, modeled cars were tracked onto the filmed cars. "Then the CGI would generate wave distortions that would come off of [each] car," notes Murphy. 2-D elements depicting spray and glisten were also integrated into the imagery. "Once you do CGI, it's always good to do that extra step to make it even more believable," says Murphy. "Adding real photography of water helps to sell it." Finally, the cars, the desert environment, and the skies above the scene were tweaked with 2-D tools...
Adweek, Oct. 4, 2004
Barbara Lippert's Critique: Lee Jeans Grows Up
She is plus-size but not likely to be visiting Lane Bryant in search of a maroon pantsuit any time soon. Instead, she stands, in black ankle-strap high-heeled shoes, about the size of your average high-rise convention center, and has had some trouble with birds landing on her head. She is the 90-foot woman, star of the latest Lee Jeans campaign. And I've got to say that I'm all for unexpected portrayals of enormous, powerful women, now that mindless, weightless figures like Paris Hilton dominate the culture. (Apparently, in her latest sex tape, she greets her boyfriend at the door wearing only a pore strip over her nose. Who knew Bioré could supply the latest porn?) Just as female twins are on the male cultural radar, it's nice to know that there are certain erotic possibilities to a woman who can make an entire city shake when she walks. Visual effects: A52, Los Angeles.
HOWdesign.com Email Update, Oct. 4, 2004
Heard it on the Street
Los Angeles visual-effects and design company A52 recently received an Emmy Award for its work on HBO's original dramatic series “Carnivale.” The award was presented during the 2003-2004 Creative Arts Primetime Emmys segment of the 56th Annual Emmy Awards presentation at the Shrine Auditorium in Los Angeles on Sept. 12. A52’s work on this project also earned the PROMAX Gold Award earlier this year. A52’s project credits include creative director Angus Wall, executive producers Rick Hassen and Darcy Leslie Parsons, senior producer Scott Boyajan, visual effects supervisors and Inferno artists Patrick Murphy and Simon Brewster, designers Vonetta Taylor, Ryan Gibson and Jesse Monsour, and 3D animators Denis Gauthier, Westley Sarokin and Jeff Willette. The live-action footage of the Carnivale title artwork in the sand was supervised by Patrick Murphy and Vonetta Taylor and filmed by director of photography James Glennon on location in the Santa Clarita Valley.
Millimeter, Sep., 2004
Hot Spots: Hummer “Scanner”
The bright white flash of a photocopier mechanism, and then the Hummer SUT in flickers through a shadowy wood to the sound of LFO's “Freak.” A52 projected two loops — one in color and one high-contrast B&W — of 35mm stills of Colorado Aspen trees (transferred in 3K) onto the SUT and photographed it against a black backdrop. The kaleidoscope effect and color correction were done in Inferno. Agency: Modernista!, Boston; Production: HSI Productions, Culver City, Calif.; Director: Arni & Kinski; Editorial: Rock Paper Scissors, Los Angeles; Editor: Adam Pertofsky; Visual Effects: A52, Hollywood; Visual Effects Supervisor/Lead Inferno Artist: Simon Scott; Sound Design: Lime Studios, Santa Monica, Calif.
Adweek, Sep. 17, 2004
Best Spots of August: Nike | "Piano"
When a young pianist in China (22-year-old Yundi Le) oversleeps, he fears he will be late for his concert, especially after hearing the opening notes of the piece he's scheduled to perform. As the musician tries to find transportation, he transforms into Lance Armstrong on a bike, speeding through the crowded streets of Beijing, until he reaches the concert site. Lance walks onto the stage, still sporting his white biking outfit and helmet. Sitting down at the piano, he becomes Yundi once again. Tagline: "You're faster than you think." Lead Flame Artist: Patrick Murphy/A52; Inferno Artists: Simon Brewster, Marguerite Cargill; Online Editor/Inferno Artist: Ben Looram/A52.
Pluginz.com, Sep. 15, 2004
A52 earns Emmy for HBO Carnivale main titles
A52's artistic tarot exploration united 2D/3D design, visual effects and High-Definition finishing. High-resolution scans of famous artworks were separated into foreground and background elements, then assembled into "2.5D" sequences inside SideEffects Software's Houdini. Motion sequences were carefully edited to highlight historical events, and the entire :90 was assembled in Discreet Inferno. "When we saw the finished product, we were blown away," said Carnivàle co-producer and post-production producer Todd London....
SIGGRAPH News, Sep. 15, 2004
A52 Earns Emmy for HBO Carnivàle Main Titles
A52's project credits include creative director Angus Wall, executive producers Rick Hassen and Darcy Leslie Parsons, senior producer Scott Boyajan, visual effects supervisors and Inferno artists Patrick Murphy and Simon Brewster, designers Vonetta Taylor, Ryan Gibson and Jesse Monsour, and 3D animators Denis Gauthier, Westley Sarokin and Jeff Willette. The live action footage of the Carnivale title artwork in the sand was supervised by Patrick Murphy and Vonetta Taylor and filmed by director of photography James Glennon on location in the Santa Clarita Valley.
VFXWorld, Sep. 15, 2004
A52 Earns Emmy for Carnivàle Main Titles
Los Angeles visual effects and design company A52 earned an Emmy for Outstanding Main Title Design on HBO's CARNIVÀLE series...
CGFocus, Sep. 14, 2004
A52 Earns Emmy for HBO Carnivàle Main Titles
A52's work on this project also earned the PROMAX Gold Award in the category of Non-Promotional Animation earlier this year ...
POST Magazine, Sep. 14, 2004
A52 WINS EMMY FOR CARNIVALE'S MAIN TITLES
WEST HOLLYWOOD, CA - Visual effects and design company A52 was recognized at the 56th Annual Emmy Awards for its work on HBO's original dramatic series "Carnivale." The studio garnered an Emmy for "Outstanding Main Title Design."...
CreativeChannel Newsletter, Aug. 31, 2004
Member News From Around the World
One of the most compelling spots during the Olympic Games utilized many CreativeChannel members. The ad, Piano, featured pianist Yundi Li's transformation into Lance Armstrong in order to make it to a concert on time. Rounding it out for RSA/USA were director Jake Scott, executive producer Fran McGivern and line producer David Mitchell. Colorist Stefan Sonnenfeld of Company 3, editor Angus Wall of Rock Paper Scissors, arranger P.J. Hanke of Spank! Music and executive producer Mark Tobin, producer Scott Boyajan, Inferno artists Simon Brewster, Marguerite Cargill and Ben Looram of A52 all lent their fantastic talents.
CreativeChannel Newsletter, Aug. 18, 2004
Member News From Around the World
Are you ready for some football? If that's a yes, then you'll be happy to know about two new spots - Fear the D & Here We Come from agency See: for the EA Sports Madden NFL 2005. Directed by Josh Taft, the folks at A52 provided seamless visual effects for the dramatic vignettes. Mark Tobin executive produced for A52 while Eric Carlson of Mad River Post took on editorial duties and colorist Steve Rodriguez weighed in for Company 3.
Cinematographer.com, Aug. 16, 2004
Seeing Infrared: Paul Laufer Shoots For Hummer
Cinematographer Paul Laufer ("The Cell") and Clio-winning Los Angeles visual effects and design company A52 recently detailed their role in a new broadcast campaign for the Hummer SUT. The commercials titled "Jungle" and "Scanner" wer produced by HSI, directed by Arni and Kinski with Emmy-award winning visual effects supervisor Simon Scott (whose company is named Process Effects) for Modernista lending a hand. The :30 spots debuted in June....
Oceania, Aug. 16, 2004
A52's FX Empower Ray Lewis in EA Sports' Madden NFL 2005
Los Angeles visual effects and design company A52 today detailed their role in providing seamless visual effects for a new set of broadcast spots for EA Sports' Madden NFL 2005 release from San Francisco-based agency See:. The two new spots directed by Josh Taft of HSI Productions starring Ray Lewis and featuring work from A52's team are entitled Here We Come and Fear the D....
Boards Online, June 13, 2004
Screening Room: EA Sports - Fear the D
Baltimore Ravens' linebacker Ray Lewis taunts and trash talks opponents and viewers in these spots for EA Sports' new Madden football title. VISUAL EFFECTS COMPANY: A52, Los Angeles.
CREATIVITY E-mail, Aug. 13, 2004
See Holds the Line for EA's Madden NFL
San Francisco agency See -- formerly Odiorne, Wilde, Narraway & Partners -- continues to produce good work for EA Sports under Goodby vet Harry Cocciolo, who signed on as creative director late last year. In a new campaign directed by HSI's Josh Taft, we get two different takes on EA's Madden NFL 2005. In one -- backed by the Old 97's heartbreaker "Question" -- we see scenes of a young couple in love. Unfortunately, just as the love birds are about to elope, the guy catches a glimpse of a poster for the game and lets his woman leave without him. In the latest spot, the Baltimore Ravens' Ray Lewis literally drags that yellow, computer-generated first down line further away from scrimmage. As the copy says, "Ten yards has never seemed so far."
SHOOT, Aug. 6, 2004
Advertisers Go For The Gold During Summer Olympics
...While this information could not be confirmed, rumor has it that as of press time, director Jake Scott of bicoastal RSA USA was working on a Nike spot via Wieden+Kennedy, Portland, Ore. Rock Paper Scissors, Los Angeles, and A52, Los Angeles, are said to also be collaborating on the project....
Film&Video Magazine, July, 2004
News
Los Angeles VFX and design company A52 recently completed work on Wieden + Kennedy’s Nike spot “The Magnet,” directed by Jake Scott. A52’s CGI team, led by 3D supervisor Denis Gauthier, created the opening scene’s dolphins, as well as each goose, firefly and bat. After filming world-champion cyclist Lance Armstrong on the green-screen stage at Austin Studios, Scott shot on location in San Francisco and remote areas in California with a photo double for Armstrong. The double’s face and shoulders were replaced with Armstrong’s throughout. Leading the A52 team was VFX supervisor Patrick Murphy....
Design In Motion, July 26, 2004
Main Title Design, Commercial Emmy Noms Announced
On the morning of July 15, Academy of Television Arts & Sciences (ATAS) chairman and CEO Dick Askin, with Edie Falco ("The Sopranos") and Tony Shalhoub ("Monk"), announced nominations in the top categories for the 56th Annual Primetime Emmy Awards at the Leonard H. Goldenson Theater in North Hollywood. The 56th Annual Primetime Emmy Awards presentation telecast awarding Emmys in 28 categories before a black-tie audience will be televised by ABC on Sunday, September 19, from the Los Angeles Shrine Auditorium. Among this year's nominees for Outstanding Main Title Design: "Carnivàle," HBO from 3 Arts Entertainment in association with HBO Original Programming. Title Designer: Angus Wall, A52. Title Designer: Patrick Murphy, A52. Title Designer: Vonetta Taylor, A52. (For more information, read the article on Design in Motion: A52 Masters Fate in Main Title Sequence for HBO's 'Carnivàle,' September 12, 2003)
CreativeChannel Newsletter, July 20, 2004
Member News From Around the World
Two new spots from Modernista for the new Hummer SUT debuted in June featured the combined talents of HSI directors Arni and Kinski along with Emmy-award winning visual effects supervisor Simon Scott, Rock Paper Scissors editor Adam Pertofsky and post house Company 3. The :30 second spots, Jungle and Scanner, presented unique visual effects challenges that were overcome by the collaboration of all these talented team players.
Adweek, Jul. 16, 2004
Best Spots of June: The History Channel | "Berlin"
A man is crossing a busy Berlin street as he talks on his cell phone. Images of the Berlin Wall coming down start to appear in the background, showing that this was the site of that historic moment. "Know where your stand." Other spots in this campaign take place at Normandy Beach and Lakehurst, N.J., the site of the Hindenburg disaster. Agency/Location: Ground Zero/Los Angeles; Production Company: A52/Beverly Hills; Director/Effects Creative Director/Flame, Inferno Artist: Patrick Murphy; Director of Photography: Florian Hoffmeister; Editor: Val Thrasher/Rock Paper Scissors, Beverly Hills.
CGFocus, July 14, 2004
Talents Behind New Hummer Jungle and Scanner Spots Rely on Strengths of A52 and Rock Paper Scissors
"Jungle" was photographed by Arni and Kinski and director of photography Paul Laufer on 35mm Kodak infrared film stock. Using flat-pass transfers from Company 3, Scott worked in one of A52's Inferno suites to perform extensive color-look enhancements and create a psychedelic effect in key moments in the spot. Capturing the elements needed to complete the directors' vision for the "Scanner" spot began with shooting a photocopier and its scanner mechanism. Then, the directors traveled to Colorado to shoot 35mm stills of Aspen trees, which Scott had transferred in 3k resolution. In one of A52's Flame suites, he created two loops of Aspen tree imagery. one color and one high-contrast black-and-white. On stage at LA's Universal Studios, the SUT was photographed against black with both image loops projected onto it. Applying a wide variety of live-action cinematic techniques, the team carefully captured elements that included the tree imagery reflected on the vehicle. From there, as Scott related, "I worked with the material in the Inferno using mixed high resolutions and color depths. This allowed both a greater gamut of creative options while compositing and a richer level of color correction."...
Deathfall (Mexico), July 14, 2004
Hummer ''Jungle'' and ''Scanner'' spots
Clio-winning Los Angeles visual effects and design company A52 today detailed their role in finishing a new broadcast campaign for the Hummer SUT from HSI, directors Arni and Kinski and Emmy-award winning visual effects supervisor Simon Scott for Modernista. The :30 spots entitled “Jungle” and “Scanner” debuted last week....
CGNetworks, July 11, 2004
Digital Coloring and Lighting for Hummer Spots; A52 brings together surreal VFX for new Hummer “Jungle” and “Scanner” spots
Prominent Los Angeles visual effects and design company A52 detail their role in finishing a new broadcast campaign for the Hummer SUT from HSI, directors Arni and Kinski and award-winning visual effects supervisor Simon Scott (Process Effects) for advertisement specialist Modernista. "Jungle” has the camera traveling through an effects-enhanced jungle, from an infrared point of view, and eventually discovering the new Hummer. “Scanner” begins with a photograph of the new SUT vehicle being photocopied and transitions to a kaleidoscopic montage showing the SUT driving down a tree-lined road at night. Both spots presented unique visual effects challenges for A52....
Pluginz.com, July 10, 2004
In the Spotlight: Facility: A52
Two new spots from Modernista for the new Hummer SUT debuted back on 6/16, featuring the combined talents of HSI directors Arni and Kinski, Emmy-award winning visual effects supervisor Simon Scott, Rock Paper Scissors editor Adam Pertofsky and other teammembers from A52, RPS, Company 3 and Lime Studios. Our complete story below details the approaches and A52's role in bringing these two unique spots together.
BikeBiz.com (UK), July 9, 2004
Lance cheated...
The 90-second ad was directed by award-winning music video and commercial director Jake Scott for Wieden+Kennedy, Nike's Portland-based ad agency. The clever visual effects - digital animation known as CGI - were created by A52 of West Hollywood, California. Even the opening scene’s crashing waves were enhanced by A52's CGI team. For tech-buffs, they used 3Dequalizer by Science-D-Visions to track the live-action footage, then created the CG water in the finished scene using Side Effects Software’s Houdini. The dolphins - like the other animals in the ad - were created using Houdini and Deep Paint 3D, rendered with Pixar’s Renderman (think ToyStory) and composited in Silicon Grail Chalice....
Design In Motion, July 9, 2004
A52, Rock Paper Scissors Craft Hummer Spots
A52 finished a two-spot broadcast campaign for the Hummer SUT from HSI, directors Arni & Kinski and visual effects supervisor Simon Scott for Modernista!. The :30 spots, "Jungle" and "Scanner," debuted June 16. (Includes QuickTimes)
Digital Producer, July 9, 2004
A52 and Rock Paper Scissors Head for Jungles; New Hummer spots rely on post houses strengths
Clio-winning Los Angeles visual effects and design company A52 today detailed their role in finishing a new broadcast campaign for the Hummer SUT from HSI, directors Arni and Kinski and Emmy-award winning visual effects supervisor Simon Scott for Modernista. The :30 spots entitled "Jungle" and "Scanner" debuted last week...
CGChannel, July 9, 2004
TALENTS BEHIND NEW HUMMER “JUNGLE” AND “SCANNER” SPOTS RELY ON STRENGTHS OF A52
“Jungle” features an effects-enhanced infrared POV traveling through a jungle, leading to the discovery of the new Hummer.
Design In Motion, July 6, 2004
A52 Provides Effects for Nike 'Magnet' with Lance Armstrong
A52 provided visual effects and design work for RSA USA director Jake Scott for Wieden+Kennedy's Nike spot entitled "The Magnet." The :90/:60/:30 spot had its broadcast debut during the NBA Playoffs on May 19 and ran nationwide in theaters before screenings of "Spider-Man 2." (Includes QuickTime)
MediaPost's Out to Launch, June 30, 2004
Since late May
Nike has been airing a spot from Wieden+Kennedy featuring Lance Armstrong on a high-speed training ride. "The Magnet" is set to run nationwide in theatres before screenings of Spiderman 2 and on TV nationally. The spot begins with Armstrong cycling along on a high-speed training ride. Outpacing a passenger train, Armstrong's magnetism soon attracts a flock of geese, a gang of bikers, kids inside a hospital and - back on a remote road - a herd of buffalo. Armstrong pushes on through a rainstorm, amidst flocks of fireflies and bats, before arriving in San Francisco where amateur racers literally fills the streets behind him. A52 provided the visual effects and design work.
CREATIVITY E-Mail, June 29, 2004
Hummer: Scanner & Jungle
Take a closer look.
SHOOT, June 25, 2004
Top Spot of the Week: Dir. Jake Scott Takes A Spin With Lance Armstrong
Meanwhile, there was also a desire to keep the visual effects subtle. Praising the work of the visual effects crew at A52, Los Angeles, Scott said, "Actually, I don't even think most people will even consider that there are effects in it."
BDA, June 25, 2004
PROMAX NORTH AMERICA WINNERS
Gold : 19 : Art Direction & Design: Topical Promo, for "College Football "Foil""
Gold : 20 : Art Direction & Design: Image Promo, for "College Football "Foil""
Gold : 48 : Art Direction & Design: Topical Promo, for "College Football "Foil""
Gold : 91 : Best Collaborative Effort , for " College Football "Foil"
Silver : 50 : Art Direction & Design: Special Event Promo, for "College Football "Foil""
Silver : 52 : Art Direction & Design: Image Promo, for "College Football "Foil""
Bronze : 50 : Art Direction & Design: Special Event Promo, for "Fox Sports "2003 College Football""
PROMAX, June 25, 2004
PROMAX NORTH AMERICA WINNERS
Gold: Non-Promotional Animation for HBO "Carnivale" Main Title Sequence
SHOOT, June 18, 2004
SPECIAL REPORT: Good Cuts: Agency creatives discuss what they look for in an editor
For this week's special report on editors, SHOOT canvassed agency creatives to get a sense of what they are looking for in the editor/director equation. Each answered the following questions: When working on a project, do you solicit the opinion of a director about the choice of editor? What do you think of the European approach to editing, whereby a director remains involved in the spot through an edit? Do you often work with editors who have strong working relationships with directors? Does that help a project? What are some recent projects you've worked on that have turned out well, from an editorial standpoint? Have you worked on any recent projects where an editor contributed to the spot beyond the edit? Charlie Hopper, Creative director, Young & Larramore, Indianapolis: The most obvious examples are three special effects-heavy spots we did for Galyan's with Rock Paper Scissors and A52, [Los Angeles], where the editing was very intricate from both a storytelling (there were no on-camera lines and no announcer voiceovers until the end on any of the spots) and a technical perspective. [...] In the Galyan's spots, Ben Longland of Rock Paper Scissors brought a lot of subtlety and depth to the stories. He and Patrick Murphy helped keep the flow natural and not "effect-y."
SHOOT, June 11, 2004
Lexus ES 330 and RX 330
PRODUCTION CO.: Anonymous Content, Culver City, Calif. Andrew Douglas, director/DP; Andy Traines, executive producer; Aris McGarry, producer. Shot on location in Los Angeles. AGENCY: Team One Advertising, El Segundo, Calif. Chris Graves, executive creative director; James Dalthorp, group creative director, and art director for "One Percent"; Jon Pearce, group creative director, and copywriter for "One Percent"; Jack Epsteen, executive producer/producer/music producer; Robert Prins, art director, "Custom Fit"; Jeff Spiegel, copywriter, "Custom Fit." EDITORIAL: The Whitehouse, Santa Monica. Marc Langley, editor; Sue Dawson, executive producer. POST/VISUAL EFFECTS: A52, Los Angeles. Patrick Murphy, Inferno artist.
CreativeChannel Newsletter, June 16, 2004
Member News From Around the World
News news news from A52! Former Method producer Mark Tobin has taken over the reins of A52 as managing director and executive producer. Tobin experience speaks volumes with credits that include clients such as Intel, Nike, Nissan and Microsoft. Also in from A52 is the continuing running of the :90, :60, and :30-second versions of the Nike Magnet spot via Wieden + Kennedy and starring Lance Armstrong. Visually compelling, the spot just never gets too old to watch. The talents behind the camera included director Jake Scott of RSA USA, editing company Rock Paper Scissors, music company Elias Arts, sound company 740 Sound Design and visual effects company A52.
CG Focus, June 9, 2004
New Nike ad attracts A52's visual magic
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for RSA USA and award-winning film, music video and commercial director Jake Scott for Wieden+Kennedy's new Nike spot...
VFXNewswire, June 9, 2004
A52 Creates VFX for Nike "Magnet"
New Industry Resources Posted This Week
Animation FLASH, June 8, 2004
NIKE SPOT ATTRACTS A52
The spot begins with a panoramic scene off the northern California coastline moving in over jumping dolphins and waves to discover
five-time Tour de France champion Lance Armstrong cycling along on a high-speed training ride. Outpacing a passenger train, Armstrong's magnetism soon attracts a flock of geese, a gang of bikers, kids inside a hospital and back on a remote road a herd of buffalo. Armstrong pushes on through a rainstorm, amidst flocks of fireflies and bats, before arriving in San Francisco where a throng of amateur racers fills the streets behind him. At last, momentarily solo again, the champ's attractive force helps a young boy on his BMX close the gap between them....
Deathfall (Mexico), June 8, 2004
Magnet - TV Spot
Nike Ad "Magnet" from Director Jake Scott attracts magical CGI & VFX from A52...
Digital Producer, June 8, 2004
A52 Provides CGI and VFX For Nike 'Magnet' Spot; Wieden+Kennedy's new Nike ad from director Jake Scott
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for RSA USA and award-winning film, music video and commercial director Jake Scott for Wieden+Kennedy's new Nike spot entitled "The Magnet." The :90 spot had its broadcast debut during the NBA Playoffs on May 19, and is also set to run nationwide in theatres before screenings of Spiderman 2....
CGNetworks, June 8, 2004
A52 Creates VFX for Nike "Magnet"
The spot begins with a gorgeous panoramic scene off the northern California coastline moving in over jumping dolphins and rollicking...
VFXWorld, June 8, 2004
Nike Spot Attracts A52
...To capture perfect performances from each animal actor (besides the buffalo), A52’s CGI team led by 3D supervisor Denis Gauthier created the opening scene’s dolphins, as well as each goose, firefly and bat that appears. The opening scene’s crashing waves were also enhanced by the CGI team, using 3Dequalizer by Science-D-Visions to track the live-action footage, then creating the CG water in the finished scene using Side Effects Software’s Houdini. The creatures were also created using Houdini and Deep Paint 3D, rendered with Pixar’s RenderMan and composited in Silicon Grail Chalice....
CG Channel, June 5, 2004
New Nike Ad "Magnet" - VFX by A52
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for RSA USA and award-winning film, music video and commercial director Jake Scott for Wieden+Kennedy’s new Nike spot entitled “The Magnet."
Boards Online, June 4, 2004
Campaigns: Armstrong rides for Nike; the Dew's Spy vs. Spy; cheeky Chiclets
Lance Armstrong becomes the Pied Piper in this "90 spot for Nike by W+K, Portland. A Jake Scott-directed piece of compelling cinematography, the film shows waves crashing onto shore, then the camera zooms in on the lone cyclist racing a train, which turns out to be Amstrong on a high-speed training tear. He's chased by buffalo, then people, and through the wonders of digital artistry (A52) a vast cloud of birds pours out of a tunnel after Armstrong. Hmm. Sorry, it looks nice, but cycling just isn't as compelling as b-ball.
Pluginz.com, June 4, 2004
A52 Deliver Wieden+Kennedy's new 90 second Nike Ad
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for RSA USA and award-winning film, music video and commercial director Jake Scott for Wieden+Kennedy’s new Nike spot entitled “Magnet.”...
SHOOT, June 4, 2004
STREET TALK
West Hollywood-based visual effects/design house A52 has named Mark Tobin as its managing director/executive producer. Tobin formerly served as a producer at Santa Monica visual effects studio Method.
CreativeChannel Newsletter, June 2, 2004
New Spots
Nike "Magnet"; Director: Jake Scott; Production Company: RSA USA; DP: Max Malkin; Editing Company: Rock Paper Scissors; Editor: Angus Wall; Music: Elias Arts; Sound Design: 740 Sound Design; Visual Effects: A52; Agency: Wieden + Kennedy/Portland; View Spot!
shots, May 26, 2004
ON THE MOVE
Mark Tobin has joined Los Angeles-based visual effects and design company A52 as managing director and executive producer. Tobin joins the company from visual effects studio Method, based in Santa Monica, where he produced visual effects for campaigns including Euro MVBMS' Blue Men for Intel and Wieden + Kennedy's Roswell Rayguns and Streaker for Nike...
VFXNewswire, May 26, 2004
A52 Arrives in VFXWorld's Focus On Gallery
Visual effects house A52 is the next pick for VFXWorld's Focus On Gallery. Check out more than two-dozen images from the company's work and read up on the techniques and challenges that went into making them. From music videos to commercials, the Focus On Gallery highlights some of the best work coming out of studios both big and small.
Animation World Magazine, May 25, 2004
Tobin Joins A52
A52 announced that Mark Tobin, formerly a producer for Santa Monica-based visual effects studio Method, has joined its team in the position of md/exec producer, effective immediately. With Method since 2000, Tobin has produced visual effects for high-profile campaigns, including Euro MVBMS‚ Blue Men for Intel and Wieden + Kennedy's ROSWELL RAYGUNS and STREAKER for Nike, and he lists Dante Ariola, Sam Bayer, Dayton/Faris and Gore Verbinski among the many elite directors he has worked with. A co-director and producer of W+K's 2002 AICP visual effects-honored Powerade WAVE spot, Tobin also has more than 10 years of experience in New York working as a documentary editor for networks, including PBS and HBO, and he also cut numerous reality TV shows as well as music videos for such notables as Pat Methany....
VFXWorld, May 25, 2004
Tobin Joins A52
"It's great to come aboard a visual effects company that has such close ties to editorial," Tobin commented, referring to A52's close working relationship with and proximity to award-winning editorial company Rock Paper Scissors. "I like the feeling of reconnecting with my core roots in the business. With A52 already at the top of their field, and by forging their established relationships with the best agency creatives and directors with my own, the plan is to transport the company that much higher by bringing in the most creative work out there." A52's work for Fox Sports earned 14 PROMAX & BDA Awards in 2003, including two Platinum Awards. The A52 team also earned a 2003 Clio Award for Television & Cinema Visual Effects for their work on Adidas SLUGS for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam....
CREATIVITY E-mail, May 24, 2004
MOVERS: Method's Tobin to Helm A52, and other moves
Mark Tobin, formerly a producer at Method in Santa Monica, has joined West Hollywood visual effects and design company A52 as managing director and executive producer.
CGChannel, May 24, 2004
A52 Appoints Mark Tobin as New Managing Director, Executive Producer
Clio-winning Los Angeles visual effects and design company A52 today announced that Mark Tobin, formerly a producer for Santa Monica-based visual effects studio Method, has joined its team in the position of managing director and executive producer, effective immediately. With Method since 2000, Tobin has produced visual effects for high-profile campaigns including Euro MVBMS’ Blue Men for Intel and Wieden + Kennedy’s "Roswell Rayguns" and "Streaker" for Nike, and he lists Dante Ariola, Sam Bayer, Dayton/Faris and Gore Verbinski among the many elite directors he has worked with. A co-director and producer of W+K’s 2002 AICP Visual Effects-honored Powerade "Wave" spot, Tobin also has over ten years of experience in New York working as a documentary editor for networks including PBS and HBO, and he also cut numerous reality TV shows as well as music videos for such notables as Pat Methany....
VFXWorld, May 24, 2004
focusOn Gallery: A52
Media Life, May 24, 2004
People
Mark Tobin hired as managing director and executive producer at A52
Post Magazine, May 24, 2004
MARK TOBIN JOINS A52 AS MANAGING DIRECTOR/EXECUTIVE PRODUCER
Mark Tobin, formerly a producer for Santa Monica-based visual effects studio Method, has joined A52 as managing director/executive producer....
Digital Producer, May 21, 2004
Visual Effects House A52 Appoints Mark Tobin; Tobin becomes new Managing Director, Executive Producer
Clio-winning Los Angeles visual effects and design company A52 today announced that Mark Tobin, formerly a producer for Santa Monica-based visual effects studio Method, has joined its team in the position of managing director and executive producer, effective immediately. With Method since 2000, Tobin has produced visual effects for high-profile campaigns including Euro MVBMS’ Blue Men for Intel and Wieden + Kennedy’s “Roswell Rayguns” and “Streaker” for Nike, and he lists Dante Ariola, Sam Bayer, Dayton/Faris and Gore Verbinski among the many elite directors he has worked with. A co-director and producer of W+K’s 2002 AICP Visual Effects-honored Powerade “Wave” spot, Tobin also has over ten years of experience in New York working as a documentary editor for networks including PBS and HBO, and he also cut numerous reality TV shows as well as music videos for such notables as Pat Methany....
Film&Video Magazine, May 21, 2004
Visual Effects House A52 Appoints Mark Tobin; Tobin becomes new Managing Director, Executive Producer
“It’s great to come aboard a visual effects company that has such close ties to editorial,” Tobin commented, referring to A52’s close working relationship with – and proximity to – award-winning editorial company Rock Paper Scissors. “I like the feeling of reconnecting with my core roots in the business. With A52 already at the top of their field, and by forging their established relationships with the best agency creatives and directors with my own,” Tobin continued, “the plan is to transport the company that much higher by bringing in the most creative work out there.” A52’s work for Fox Sports earned fourteen PROMAX & BDA Awards in 2003, including two Platinum Awards. The A52 team also earned a 2003 Clio Award for Television & Cinema Visual Effects for their work on Adidas "Slugs" for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam.
FXGuide, May 21, 2004
A52 Lands Mark Tobin as New Managing Director, Executive Producer
Effective immediately, former Method producer Mark Tobin has taken the reins of A52 as managing director and executive producer....
Skwigly (UK), May 21, 2004
A52 appoints Mark Tobin as new managing director, executive producer
Clio-winning Los Angeles visual effects and design company A52 today announced that Mark Tobin, formerly a producer for Santa Monica-based visual effects studio Method, has joined its team in the position of managing director and executive producer, effective immediately....
VFXPro, May 21, 2004
Tobin Joins A52
Mark Tobin, formerly a producer for Santa Monica-based visual effects studio Method, has joined A52 in the position of managing director and executive producer, effective immediately....
MediaPost's Out to Launch, May 5, 2004
A52...
...provided visual effects for Team One Advertising's latest ad for Lexus. "Dimples," a :30 spot, is currently airing nationwide. The ad is set in a darkened wind-tunnel test facility; Lexus' sedan is raised into the air and then spun over onto its back. A fan blows a stream of smoke that hugs the vehicle's profile, and a closeup shot reveals the undercarriage's dimpled panels, which were developed by Lexus' engineers to reduce noise and lower wind resistance. "So it's aerodynamic, from every angle," concludes the voiceover.
CreativeChannel Newsletter, May 4, 2004
Member News From Around the World
Director Paul McMenamin recently teamed up with A52's visual effects to provide live-action elements for a series of new IDs (C1, C2, C3, C4) for HBO to use in introducing Cinemax programming. Executive produced by Rick Hassen and Darcy Leslie Parsons, others weighing in for A52 were Flame artists Marguerite Cargill and Westley Sarokin. Editing duties were handled by Rock Paper Scissors and editor JD Smyth while Telecine was provided by Company 3 and colorist Steve Rodriguez. And then came the very funny two-spot Nationwide Insurance campaign via Temerlin McClain/Irving and directed by Frank Todaro of Moxie Pictures. The spots, Butterfly and Car remind us to prepare for the unexpected. Editing was provided by Rock Paper Scissors and editor Adam Pertofsky; animation came from the talented crew over at Sway; Radium provided the graphics; Company 3 the Telecine and visual effects from the skilled group at A52.
MotorTrend, April, 2004
Cadillac Goes Surreal
Viewers of the Super Bowl broadcast saw the debut of one of the more intriguing commercials to appear this year, Cadillac's "Turbulence." Directed by Nic Mathieu of Anonymous Content for the Chemistri agency, the spot features Cadillacs racing across a desert plateau. But instead of the swirling sands typically seen in that environment, Mathieu envisioned "water as air? to depict the turbulence stirred up by the vehicles. As the Cadillacs barrel across parched terrain, water streams from their surfaces in a surreal, dream-like way. In one head-on shot, a vehicle even bursts through a membrane of water. The challenge of visualizing these effects fell to Hollywood-based A52....
Millimeter, April, 2004
Step-by-Step: Cadillac Goes Surreal
Viewers of the Super Bowl broadcast saw the debut of one of the more intriguing commercials to appear this year, Cadillac's "Turbulence." Directed by Nic Mathieu of Anonymous Content for the Chemistri agency, the spot features Cadillacs racing across a desert plateau. But instead of the swirling sands typically seen in that environment, Mathieu envisioned "water as air? to depict the turbulence stirred up by the vehicles. As the Cadillacs barrel across parched terrain, water streams from their surfaces in a surreal, dream-like way. In one head-on shot, a vehicle even bursts through a membrane of water. The challenge of visualizing these effects fell to Hollywood-based A52....
Animation World Magazine, Apr. 30, 2004
Hot Spots Showcase 2: The Best in Animated & VFX Commercials
For this project, noted filmmaker, DP and still-photographer Andrew Douglas was tasked with going from start-to-finish in a matter of weeks... and he quickly enlisted the talents of A52. For the first of their many photoreal feats on this project, A52’s CG department of Denis Gauthier, Westley Sarokin and Ivan DeWolf tracked that stock scene using 3Dequalizer by Science-D-Visions, then created the CG water that rises some 900-feet above the city’s streets in the finished scene using Side Effects Software’s Houdini. Douglas, VFX supervisor/Inferno artist Patrick Murphy and producer Ron Cosentino and crew then traveled to New York City to shoot a number of background plates from various Manhattan rooftops...
MediaPost's Out to Launch, Apr. 28, 2004
TBWA/Chiat/Day LA...
...designed two TV spots for Infiniti's G35 campaign. The thirty-second ads, "Seasons" and "Snow Chains" are currently airing nationwide on spot TV and national cable. The spots launch Infiniti's intelligent all-wheel drive feature on the 2004 G35 sedan. "Snow Chains" features a fleet of generic vehicles with snow chains clanking noisily over the dry pavement of city streets as the new G35 smoothly glides along without them. "Seasons" shows the G35 driving down a road as weather conditions dramatically change from rain to sunshine to snow, then ends with a shot of the vehicle showing the same range of weather. A52 provided visual effects work on the campaign.
Highend3D, Apr. 28, 2004
A52 floods NYC to herald iShares’ new day...
Back at the A52 studio, under Douglas’ direction, Cosentino and Murphy began working with flat telecine passes of all the live-action elements to be used in the spot’s scores of effects shots. Murphy used Discreet Inferno to color-grade the exterior footage to herald the brooding storm and also added lightning strikes, fog and other atmospheric effects. Since there were no real windows in the conference room scenes, Murphy added the windows and the appropriate views outside, including CG and 2D rain and storm lighting effects.
Adweek, Apr. 26, 2004
Best Spots of March: Audi of America | "Progressions"
Online Editor: Dan Sumpter/A52.
Adweek, Apr. 26, 2004
Best Spots of March: Hummer | "Search Engine"
Special Effects: Simon Scott/A52, Dirk Green/The Mill.
Skwigly, Apr. 16, 2004
A52 floods New York City for Andrew Douglas’ “clean slate” spot for new Ishares campaign from Venables, Bell and Partners
For a scene showing Wall Street under ten feet of rising water, Murphy composited the foreground shot (filmed in Los Angeles), a live-action hot dog cart, signature New York buildings and the CG water from A52’s CGI team. Another exterior building shot looks upward from below fathoms of water, where other CG objects are suspended. We then see the actor looking out the window; in the finished scene, he’s looking out into an ocean of water as a taxi floats by. Like all the spot’s CG elements, the taxi is created in Houdini and rendered using Pixar’s Renderman....
CG Channel, Apr. 16, 2004
A52 FLOODS NEW YORK CITY FOR ANDREW DOUGLAS' “CLEAN SLATE” SPOT
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for Anonymous Content and director Andrew Douglas for Venables, Bell and Partners':60 Barclays Global Investors/iShares spot entitled “Clean Slate” which debuted on national cable on Mar. 8.
CGFocus, Apr. 16, 2004
A52 Floods New York For Clean Slate Spot For New ishares Campaign
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for Anonymous Content and director Andrew Douglas for Venables, Bell and Partners':60 Barclays Global Investors/iShares spot entitled "Clean Slate" which debuted on national cable on Mar. 8. In the dramatic spot, a storm completely floods New York City, trapping a group of financial professionals inside their building's conference room. The next day, the sun finally breaks through, revealing a bright new day and this message: "Investment advisors: It's a new day. The new school of investing is here. iShares.com/newschool."
Digital Producer, Apr. 16, 2004
A52 Floods New York City; FX for Andrew Douglas' "Clean Slate" spot for new iShares campaign
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and design work for Anonymous Content and director Andrew Douglas for Venables, Bell and Partners':60 Barclays Global Investors/iShares spot entitled "Clean Slate" which debuted on national cable on Mar. 8. In the dramatic spot, a storm completely floods New York City, trapping a group of financial professionals inside their building's conference room. The next day, the sun finally breaks through, revealing a bright new day and this message: "Investment advisors: It's a new day. The new school of investing is here. iShares.com/newschool."
Film&Video Magazine, Apr. 16, 2004
A52 Floods New York City
For this project, noted filmmaker, DP and still-photographer Andrew Douglas was tasked with going from start-to-finish in a matter of weeks... and he quickly enlisted the talents of A52, with whom he has collaborated on challenging commercial projects for Audi, Ford, Lincoln, Jeep, Verisign and many others. "As always, A52 brought a level of professionalism, speed and visual flair to a project that was a difficult balancing act of comedy and melodrama, helping me deliver a tonality and realism that literally challenges your eyes," Douglas said.
Pluginz, Apr. 16, 2004
A52 Floods New York City!
For the first of their many photo-real feats on this project, A52’s CG department of Denis Gauthier, Westley Sarokin and Ivan DeWolf tracked that stock scene using 3Dequalizer by Science-D-Visions, then created the CG water that rises some 900 feet above the city’s streets in the finished scene using Side Effects Software’s Houdini....
Rendernode, Apr. 16, 2004
A52 flooded New York City
A52 today detailed their visual effects and design work for Anonymous Content and director Andrew Douglas for Venables, Bell and Partners':60 Barclays Global Investors/iShares spot entitled "Clean Slate" which debuted on national cable on Mar. 8. For this project, noted filmmaker, DP and still-photographer Andrew Douglas was tasked with going from start-to-finish in a matter of weeks and he quickly enlisted the talents of A52, with whom he has collaborated on challenging commercial projects for Audi, Ford, Lincoln, Jeep, Verisign and many others. Quicktime clip available.
SHOOT, Apr. 16, 2004
Special Report: Crystal Ball; Pre-vis is now a standard offering at VFX shops
At Los Angeles effects shop A52, managing director Rick Hassen uses pre-vis more sparingly, on about 25 percent of the company's work. "There are a lot of variables," he says. "One is the director and his ability to communicate his vision thoroughly and our being able to know we can execute it." Hassen will do a pre-vis when he's faced with a difficult situation, such as with an upcoming BMW spot out of Fallon, Minneapolis, in which the car is shot outdoors in a single-shot, motion-control, time-lapse sequence. "We wanted to avoid shooting into the sun because we had to focus on the automobile," Hassen relates. "There was a very simple pre-vis. It consisted of using GPS information, position and dimensions of the rig itself, and software that will give you the path of the sun. It was more pre-vising the sun position than anything else."
Animation World Network, Apr. 15, 2004
A52 Floods New York City for Clean Slate Spot
Clio-winning Los Angeles visual effects and design company A52 detailed the vfx and design work for Venables, Bell and Partners'...
Deathfall (Mexico), Apr. 15, 2004
Clean Slate - TV Spot
A52 floods NYC for Andrew Doublas "Clean Slate" spot for new iShares Campaign from Venables, Bell and Partners...
FXGuide, Apr. 15, 2004
A52 floods NYC to herald iShares’ new day...
Past collaborations between the team from LA-based visual effects and design company A52 and director Andrew Douglas have scored numerous awards, including AICP Show Visual Style recognition, a Caddy Award and the NY Festivals Gold WorldMedal. This latest teaming unleashes a cataclysmic storm on NYC to dramatize a new day for investors, courtesy of Barclay Global Investors and their iShares brand. The spot's ambitious visual objectives and short schedule put A52's CGI team as well as VFX supervisor Pat Murphy on-the-spot and under-the-gun. An awards contender for 2004? You be the judge.
VFXPro, Apr. 15, 2004
A52 Makes 'Clean Slate'
A52 completed visual effects and design work for Anonymous Content and director Andrew Douglas for Venables, Bell and Partners' 60-second Barclays Global Investors/iShares spot titled "Clean Slate."
VFXWorld, Apr. 15, 2004
A52 Floods New York City for Clean Slate Spot
Clio-winning Los Angeles visual effects and design company A52 detailed the vfx and design work for Venables, Bell and Partners'...
Design Jungle (Korea), Apr. 10, 2004
A52 Mesmerizes in HBO's Carnivale Title Sequence
InsideCG.com, Apr. 9, 2004
A52 Talks with Inside CG
SHOOT, Apr. 9, 2004
Agency McKinney & Silver Salutes Audi's Progress
In the latest spot from director/cinematographer Lance Acord of New York-based Park Pictures, you could say that the helmer reinvented the wheel—or at least recreated it. "Progressions" for Audi of America out of McKinney & Silver, Raleigh, N.C., tracks the development of modern innovations to a catchy arrangement of two David Bowie songs, the classic "Rebel, Rebel," and his new release, "Never Get Old." POST: A52, Los Angeles. Dan Sumpter, online editor.
3DVF (France), Apr. 7, 2004
InsideCg vient de publier un article sur le travail du studio de création A52.
SHOOT, Apr. 2, 2004
Creative Showcase: Team One Turns Lexus' Headlights
"15 Degrees" showcases Lexus' specially designed headlights. The :30 opens on a man driving his Lexus down a dark road. As the headlights—which rotate 15 degrees for better visibility—are shown, the voiceover states that the lights "reveal what's around the bend before you get to the bend," as a deer and fawn suddenly appear and make their way across the the road. Visual Effects: A52, Los Angeles. Rick Hassen, managing director; Darcy Leslie Parsons, executive producer; Scott Boyajan, producer; Ben Looram and Marty Taylor, Flame artists; Patrick Murphy, Inferno artist/online editor.
SHOOT, Apr. 2, 2004
Creative Showcase: A52 Breaks Through for Cadillac
"Turbulence" (:60/:30) shows four Cadillac vehicles—the CTS-V, Escalade, SRX and XLR—racing toward the same desert intersection with the air as a water effect around each car.
CreativeChannel Newsletter, Apr. 1, 2004
Seasonal Update
Fresh off the success of their Cadillac Turbulence spot for the Super Bowl and Academy Awards, the latest high-profile spot to come together inside A52 in Los Angeles is a monumental new project for Anonymous Content and director Andrew Douglas for Venables, Bell & Partners. This :60 for Barclays Global Investors and its iShares brand is sure to make New Yorkers hold their breath when it breaks in the ensuing weeks. Building on their Emmy-nominated main title design work for HBO last year, A52 is also forging ahead on more main title work for the network, as well as some eye-popping IDs for Cinemax. Audi, HP and Special K are just a few of the other global brands currently receiving the team's best efforts, and their work with SWAY Studio continues to turn heads, including the recent Honda Element Purpose (RPA) and Lexus Dimples (TeamOne) spots, as well as a 'bubblicious' anti-smoking PSA for the California Department of Health from Ground Zero.
Creativity, March, 2004
Cadillac's New Wave
For Chemistri's blockbuster Super Bowl Cadillac spot this year, director Nic Mathieu approached the effects team at L.A.'s A52 with a vision for a unique and supernatural water effect that would live up to Caddy's "Break Through" tag promise. From early in the design process, Mathieu wanted to create visible air that would have the attributes of water without droplets or spray, using the underside of an ocean wave as a visual cue. In "Turbulence," a single Caddy bursts thorugh a wall of humidity as a veritable water tunnel envelops the speeding car on a desert highway and swirls around the wheels....
The Source, March, 2004
TOP TEN U.S. VISUAL EFFECTS COMPANIES
Most spots today have some type of visual effect in them, from a major effects job of incorporating CGI and live action or just animating a simple logo. So a question we get asked a lot is give us a list of the top ten visual effects companies. That's harder to do than it seems. Visual effects companies are not one generic lot. They specialize in various areas of graphics, animation, compositing and effects just as much as production companies. So with that disclaimer in mind, we came up with the Top 10 USA visual effect companies that do the larger visual effects jobs. Here they are: (In Alphabetical order) A52; Digital Domain; Digital Kitchen; Method; Quiet Man; RhinoFX; Ring of Fire; Sea Level; The Mill/USA; Zoic.
CREATIVITY E-mail, Mar. 22, 2004
The Latest: iShares "Clean Slate"
Visual effects company: A52.
CreativeChannel Newsletter, Mar. 15, 2004
Barclays / Barclays Global Investors / iShares
Visual effects company: A52.
Highend3D.com, Mar. 10, 2004
A52 Delivers Unreal Effects for Cadillac “Turbulence”
Clio-winning Los Angeles visual effects and design company A52 today detailed their design, R&D and hybrid 2D/3D visual effects work for Anonymous Content and director Nic Mathieu for chemistri’s new :60 and :30 Cadillac spots entitled “Turbulence” which debuted during the Super Bowl XXXVIII broadcast on CBS and also ran during ABC’s coverage of the 76th Annual Academy Awards.
iCOM Magazine, Mar. 8, 2004
Director Mathieu & A52 Team Deliver Ad For SB XXXVIII & Oscars
“A52 is a great go-to company when you have a visual effects challenge,” said Jack Nelson, chemistri’s project producer. “I felt really confident bringing the job to them and having them finish it. Our specialty in photo-real visual effects was very effective in bringing this water-like turbulence effect to life,” commented Darcy Leslie Parsons, A52’s executive producer. According to A52’s project producer Scott Boyajan, while the project was still in the bidding stage, company creative director Simon Brewster created a test which helped move the project forward. With the production awarded to director Nic Mathieu and his producer Aris McGarry at Anonymous Content, A52’s team then continued their collaboration, working on the effect’s look and helping to determine the live-action elements they would require for post.
VFXPro, Mar. 8, 2004
A52 Helps with Turbulence
A52 completed design, R&D and hybrid 2D/3D visual effects work for Anonymous Content and director Nic Mathieu for chemistri's new Cadillac spots, titled "Turbulence."
CGVisual (China), Mar. 5, 2004
Director Nic Mathieu for chemistri’s new :60 and :30 Cadillac spots entitled “Turbulence”
3DVF.com (France), Mar. 4, 2004
News du 04/03/2004
Venez voir le dernier spot publicitaire réalisé par le studio californien A52.
3DTotal.com (UK), Mar. 3, 2004
A52 in Los Angeles
have created a very swish commercial for a Cadillac spot entitled 'Turbulence'. Read all about it, view the screen shots and quicktime here.
Deathfall.com (Mexico), Mar. 3, 2004
Turbulence TV Spot
Director Nic Mathieu and Team from A52 deliver new visual language in Chemistri's Cadillac ad for Super Bowl XXXVIII and Oscars.
Digital Producer, Mar. 3, 2004
Director Nic Mathieu and Team From A52 Deliver New Visual Language in Chemistri's Cadillac Ad
Clio-winning Los Angeles visual effects and design company A52 today detailed their design, R&D and hybrid 2D/3D visual effects work for Anonymous Content and director Nic Mathieu for chemistri's new :60 and :30 Cadillac spots entitled "Turbulence" which debuted during the Super Bowl XXXVIII broadcast on CBS and also ran during ABC's coverage of the 76th Annual Academy Awards. The "Turbulence" spot is a visual idea that ponders the notion of "air as water." Four brand new Cadillac vehicles - the CTS-V, Escalade, SRX and XLR - race toward the same desert intersection with the air as water effect applied to each car. A52's team was contacted by chemistri's creative team early into the conceptual process to help them determine how the desired look could be achieved.
CGChannel, Mar. 2, 2004
A52 creates turbulence in Cadillac spot
Director Nic Mathieu and team from A52 deliver new visual language in chemistri's Cadillac ad for SuperBowl XXXVIII AND Oscars.
'Boards, Feb., 2004
Top Spots: HP/Toys 'R' Us "The Next Shift"
Agency: Goodby, Silverstein, & Partners, SF; Executive Producer: Elizabeth O'Toole; CDs: Steve Simpson, Rich Silverstein, John Norman; Art Directors: Todd Grant, John Norman; Copywriter: John Knecht; Production Company: Anonymous/Gorgeous; Director: Frank Budgen; DP: Harris Savides; Executive Producer: Lisa Marguiles; Visual Effects: A52, Los Angeles; Editorial Company: Rock Paper Scissors, LA; Editor: Kirk Baxter (of Final Cut, NY); Music: Justine La Bo, Technicolor Sound, Burbank.
'Boards, Feb., 2004
Top Spots: Gatorade "Get Up"
Agency: Element 79 Partners, Chicago; Chief Creative Officer: dennis Ryan; Copywriter: Allan Roberts; GCD/Art Director: Doug Behm; Executive Producer: Rob Jaeger; Production Company: Bob Industries, LA; Director: Kim Geldenhuys; Visual Effects: Filmworkers Club/A52; Editor: Kobus Loots; Sound: Massive Music; Music: James Brown, "Sex Machine."
Creativity, Feb., 2004
Hot Spots: Post - CADILLAC "TURBULENCE"
Four Cadillacs charge toward a crossroads in a parched Victorville desert, but A52's CGI makes each car appear to be cutting through water, leaving liquid streams and voluminous waves in their wake, like literal landsharks.
Videography, Feb., 2004
A52 Creates Infiniti G35 Campaign
Los Angeles visual effects and design company A52 created the visual effects for Omaha Pictures and director Rupert Sanders for TBWA\Chiat\Day LA's new Infiniti G35 campaign....
SHOOT, Feb. 20, 2004
Special Report: New Waves; Post execs discuss current trends
Rick Hassen, Managing director, A52, Los Angeles. It appears that the board flow has increased a great deal, and from that perspective, things are great. There is certainly a trend toward accelerated schedules and challenging budgets. Technically, I would say that there is a very mature set of software out there in Discreet and Avid. Final Cut Pro is having more and more of an impact in both offline and finishing. Clients are traveling less, so remote services and visual asset management is becoming more important....
CreativeChannel Newsletter, Feb. 10, 2004
Member News: A52
Carl Erik Rinsch of RSA/USA recently teamed up with Lexus via Team One for a new :30 second spot entitled Dimples. Set in a darkened wind tunnel test facility, Lexus' luxury sedan is raised into the air and then spun over onto its back revealing the undercarriage's dimpled panels. Other talents - (and there were many) - included editor Paul Martinez of Lost Planet; visual effects company A52 and producer Lisa Beroud, visual effects supervisors and Inferno artists Simon Brewster and Patrick Murphy, Flame artists Marguerite Cargill, Ben Looram, Mark Alan Loso and Marty Taylor and Henry artist Scott Johnson. Colorist Stefan Sonnenfeld of Company 3 provided A52 with four transfers and Sway Digital Studios created the smoke that blew around the car.
TV Technology, Feb. 5, 2004
Broadcast Industry Vendors Converge to Cover Super Bowl
Visual effects company A52 used Inferno on the 60- and 30-second Cadillac "Turbulence" spot.
Hollywood Industry, Feb. 4, 2004
Discreet's Technology - The MVP for Super Bowl XXXVIII ...
... A52, a Clio-winning, LA-based visual effects and design company, used Discreet's inferno on the 60 and 30 second Cadillac "Turbulence" spots that aired during ...
CGNetworks, Feb. 2, 2004
Discreet at the Superbowl
Discreet has pulled together an impressive list of clients using its visual effects systems for the Super Bowl. With an average cost of $2.25 million for a 30-second spot, this year's Super Bowl ads did not disappoint in their creativity or their use of visual effects. Many advertisers turned their imaginative visions into reality using Discreet's industry-leading visual effects and editing systems: inferno, flame, fire, smoke and combustion. A52, a Clio-winning, LA-based visual effects and design company, used Discreet's inferno on the 60 and 30 second Cadillac "Turbulence" spots that aired during the Super Bowl. Said Scott Boyajan, senior producer at A52, "All the shots for the Cadillac Super Bowl spots were finalized in inferno. Pretty much every shot has some sort of water effect; our challenge was to make the effect have characteristics of water, yet eliminate certain attributes, like spray and droplets. At times, the water effect takes on gaseous attributes, and at other moments, even a metallic look. A52 used every computer platform at its disposal, including inferno, for extensive scene manipulation and final integration. This created a unique effect - the viewer is unlikely to be able to distinguish between CGI and live action water because the two are blended in a very abstract way. This effect would not have been possible without using inferno to integrate the CGI and live action."
Design In Motion, Feb. 2, 2004
A52 Demonstrates Lexus' Pursuit of Perfection in 'Dimples'
A52 provided visual effects and CGI work for RSA/USA and director Carl Rinsch for Team One Advertising's :30 Lexus "Dimples," which is currently airing nationwide. (Includes QuickTime)
Digital Video Editing, Feb. 2, 2004
Discreet's Technology Used in Numerous Super Bowl Ads
... A52, a Clio-winning, LA-based visual effects and design company, used Discreet's inferno on the 60 and 30 second Cadillac "Turbulence" spots that aired during ...
Journal of Computer Graphics (China), Feb. 2, 2004
A52
Creativity, Jan., 2004
Best Visuals/Effects
Honda Element "Purpose" In this all-CG spot Lego-like pieces fall miraculously into place to form the Honda Element, every part of which has a purpose.
Creativity, Jan., 2004
Honda "Best Friends"and "Purpose"
Client: Honda; Agency: Rubin Postaer & Associates; CDs: David Smith, Joe Baritelli; CW: Camille Csze; AD: Nathan Crow Agency; Producer: Julie Dolson; Director: Roman Coppola/Directors Bureau; Editor: Ben Longland/Rock Paper Scissors; Effects: Sway Studios, A52; Music: Rob Lopez/Hum.
Post Magazine, Jan., 2004
VFX for Spots: A52'S MISSION: ROCKET TO MARS
LA's A52 (www.A52com) continues to work with director Jake Scott and agency Goodby Silverstein & Partners, San Francisco, on the Hewlett Packard campaign, which teams the technology partner with various companies, in this case Disney on a :30 called Rocket Delivery. The director sought to harness the ideas of Simon Brewster, A52's visual effects supervisor and lead Inferno artist. "Jake and Simon were working hand in hand early on, looking at models, drawings, trying to figure out what does the rocket look like, how does it work in this environment," explains senior producer Scott Boyajan. "The other interesting thing was the relationship between the models shot and created, and how our CGI was brought into the process - the live-action art direction, and the 2D and 3D integration." [MORE]
VFXPro, Jan. 30, 2004
A52 Gives Lexus 'Dimples'
Los Angeles visual effects and design company A52 completed visual effects and CGI work for RSA/USA and director Carl Rinsch for Team One Advertising's new Lexus "Dimples" 30-second spot, which is airing nationwide.
CGChannel, Jan. 29, 2004
LEXUS' PERFECTION REVEALED IN NEW SPOT FEATURING VFX, CGI AND FINISHING BY A52
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects and CGI work for RSA/USA and director Carl Rinsch for Team One Advertising’s new Lexus “Dimples” :30 spot, which is currently airing nationwide....
CGFocus, Jan. 29, 2004
Lexus Perfection Revealed in New Spot Featuring VFX CGI and Finishing by A52
A52's project producer Lisa Beroud worked with visual effects supervisor Patrick Murphy to support Carl Rinsch and the RSA/USA team in all phases of the project's planning and production. On the set at Delfino Studios in Sylmar, Calif., Rinch and director of photography Tobias Schleissler used multiple motion control passes to film the fan and robot arm miniatures against a black backdrop. Motion control was also used to capture the car as the practical arm turned it over - and for the other shots of the car and the under-panels. For each motion control shot, colorist Stefan Sonnenfeld of Company 3 provided A52 with four transfers: one flat, a reflection pass, a beauty pass and a matte pass.
CGNetworks, Jan. 29, 2004
A52 Delivers VFX for Lexus
Set in a darkened wind-tunnel test facility, Lexus’ luxury sedan is raised into the air and then spun over onto its back. A giant fan blows a stream of smoke that hugs the vehicle’s profile, and a closeup shot reveals the undercarriage’s dimpled panels which, as the voiceover explains, were developed by Lexus’ engineers to reduce noise and lower wind resistance. “So it’s aerodynamic, from every angle,” concludes the VO from artist Jim Sloyan. “We took the traditional wind tunnel car spot and turned the cliché upside down to prove that Lexus' pursuit of perfection goes beyond any other car manufacturer,” explained Team One’s associate creative director and art director Robert Prins, who also illuminated some production details that viewers are not likely to guess. “In the spot,” he added, “the car is a real car spinning upside down, and the fan and the apparatus that grabs the car are miniatures built by Stan Winston... but everything else you see has been built by A52.”
CGChannel, Jan. 20, 2004
A52 SHINES IN DETAILS OF NEW INFINITI G35 BROADCAST CAMPAIGN FROM TBWA\CHIAT\DAY AND DIRECTOR RUPERT SANDERS
Los Angeles visual effects and design company A52 today detailed their visual effects work for Omaha Pictures and director Rupert Sanders for TBWA/Chiat/ Day LA’s new Infiniti G35 campaign featuring the “Seasons” and “Snow Chains” :30 spots which are currently airing nationwide on spot TV and national cable....
SHOOT, Jan. 20, 2004
CBS Eyes Some $2.3 Million Per Super Bowl :30 Timeslot
Slated to debut on the Big Game is a General Motors/Cadillac spot directed by Nic Mathieu of bicoastal Anonymous Content for Chemistri, Troy, Mich. The Cadillac ad is a mesh of Mathieu's live action and CGI from A52, Los Angeles....
Adweek, Jan. 19, 2003
Best Spots of December: Hummer | "Illumination Night"
Agency/Location: Modernista!/Boston; CDs/Art Directors: Gary Koepke, Will Uronis; CDs/Copywriters: Lance Jensen, Shane Hutton; Agency Producer: Charles Wolford; Production Company: H.S.I. Productions; Directors: Arni & Kinski; Director of Photography: Jeff Cronenweth; Editor: Rick Russell/Rock Paper Scissors; Visual Effects: A52 and The Mill/NY; Sound Design: POP Sound.
'Boards Online, Jan. 16, 2004
Child's play for Budgen
Top director plus A52's FX team craft beautiful fairy tale for HP's Toys 'R' Us spot...
SHOOT, Jan. 16, 2004
A52 Weathers Infiniti G35
Two :30s introduce Infiniti's all-wheel drive (AWD) feature on its 2004 G35 sedan. "Snow Chains" shows a fleet of generic vehicles with snow chains clanking noisily over the dry pavement of city streets, while the Infiniti G35 smoothly glides without the chains. "Seasons" features the G35 driving down a road as weather conditions change from rain to sunshine to snow, ending with a time-lapse shot of the vehicle showing the same range of weather.
Design In Motion, Jan. 15, 2004
A52 Shines with Infiniti G35 Broadcast Campaign
A52 provided visual effects services for Omaha Pictures and director Rupert Sanders for TBWA\Chiat\Day Los Angeles' Infiniti G35 campaign. The two :30 spots -- "Seasons" and "Snow Chains" -- are airing nationwide on spot TV and national cable. (Includes QuickTimes)
CreativeChannel Newsletter, Jan. 13, 2004
Member News: A52
Our fabulous friends over at A52 have been busy with visual effects work on two spots - Seasons and Snow Chains via TBWA/Chiat/Day LA for the new Infiniti G35 campaign. The stylish spots launch Infiniti's intelligent all-wheel drive (AWD) feature on the 2004 G35 sedan. The usual suspects were on board: executive producer Darcy Leslie Parsons, creative director Simon Brewster, producer Scott Boyajan, visual effects supervisor Westley Sarokin and artists Marguerite Cargill and Scott Johnson. Editorial was provided by the Whitehouse with editor Neil Smith at the helm.
Automotive News, Jan. 12, 2004
MARKETING: Cadillac, Lexus go for Super Bowl glory
One carmaker will turn itself belly-up to make a statement about its new sedan. Another will create a stunning air-turbulence effect to show off four key vehicles. On the marketing world's biggest stage - the Super Bowl - Cadillac and Lexus are preparing to make big news with splashy TV commercials.
'Boards Online, Jan. 9, 2004
Campaigns & Promos
Omaha Pictures' director Rupert Sanders paints a pretty picture for TBWA\Chiat\Day, LA,'s Infiniti G35 campaign. The trickier of the two, "Seasons", shows the car driving down a road as weather conditions dramatically change from rain to sun to snow (visual FX by LA's A52). Music and stylish sound design by Cyrus Melchor and Gus Koven of Santa Monica's Stimmüng. "Seasons" and "Snow Chains", both :30 spots, are currently airing nationwide.
CG Focus, Jan. 7, 2004
A52 Shines in Details of New Infiniti Campaign
Clio-winning Los Angeles visual effects and design company A52 today detailed their visual effects work for Omaha Pictures and director Rupert Sanders for TBWA/Chiat/ Day LA's new Infiniti G35 campaign featuring the "Seasons" and "Snow Chains" :30 spots which are currently airing nationwide on spot TV and national cable.
Deathfall 3D, Jan. 7, 2004
Infiniti ''Seasons'' and ''Snow Chains'' spots
A52 Shines in details of new Infiniti G35 broadcast campaign from TBWA\CHIAT\DAY and director Rupert Sanders.
Digital Producer, Jan. 7, 2004
A52 Details Effects Work on New Infiniti G35 Campaign
The stylish spots which broke at the end of Nov. launch Infiniti’s intelligent all-wheel drive (AWD) feature on the 2004 G35 sedan. “Snow Chains” features a fleet of generic vehicles with snow chains clanking noisily over the dry pavement of city streets as the new G35 smoothly glides along without them... and “Seasons” shows the G35 driving down a road as weather conditions dramatically change from rain to sunshine to snow, then ends with a timelapse shot of the vehicle showing the same range of weather. In both spots, voiceover artist Live Schreiber punctuates the clear benefits of the constantly adjusting AWD system. “Knowing that Rupert and his D.P. Jess Hall intended to capture most of their effects in-camera, we focused on working with the production from the earliest planning stages to ensure that the effects would integrate seamlessly,” said Darcy Leslie Parsons, A52’s executive producer. To ensure this, A52’s creative director Simon Brewster, producer Scott Boyajan and on-set visual effects supervisor Westley Sarokin actively participated in pre-production and location filming for both spots.
Computer Graphics World, Dec., 2003
USER FOCUS | DIGITAL VIDEO Spotlight: On-Air Sparkle
When visual effects and design company A52 and Fox Sports teamed up to create a unique on-air segment to promote the network's coverage of this year's college football season, they wanted to create a spot that would "reflect" a collegiate look. The intent, says Fox creative director Scott Bantle, was to design the commercial so it appeared as if it could have been crafted by talented university art students with materials readily available in their dorm rooms. To this end, Bantle and fellow Fox creative director Chris Donovan wanted the imagery to showcase the reflective properties of tinfoil, an art supply that even money-strapped students can afford. "We considered the foil's reflective qualities to be appealing, and they added an extra dimension to the imagery," explains A52's Patrick Murphy, visual effects supervisor and inferno artist on the project....
Creativity, Dec., 2003
Fahrenheit 452
As PSAs go, this one, for Chicago's United Neighborhood Organization, is pretty gripping and very well made. It features cops raiding a school bus, as the students on board try to hide their apparently illegal books, calculators and other educational paraphernalia....
'Boards, Nov., 2003
Top Spots
Honda Element "Purpose": CREDITS: Agency: Rubin Postaer and Associates, CA. Creative Directors: David Smith, Joe Baratelli. Copywriter: Camille Sze. Art Director: Nathan Crow. Agency Producer: Julie Dolson. Prodco: The Directors Bureau, LA. Director: Roman Coppola. Executive Producer: Cayce Cole. Editorial: Rock Paper Scissors, LA. Editor: Ben Longland. Visual Effects: Sway; A52, LA. Music Company: HUM, Santa Monica. Composer: Rob Lopez
Creativity, Dec., 2003
Hitting On All Cylinders
Among the standouts in a rather distinguished new spate of Honda TV spots are an entirely Lego-built Element, intended as a flashy demo of the notion that "Every piece has its purpose," compliments of Roman Coppola and A52 - which is about the only thing that ...
SHOOT, Nov. 28, 2003
SHORT CUTS
A52, Los Angeles, created the main title sequence for HBO's Carnivàle, a new series which debuted Sept. 14. The sequence begins with a deck of Tarot cards falling into the sand. The camera moves in on a "The World" card, illustrated with a famous work of art. The camera delves into the picture, finding footage from several iconic moments in history, then moves back out of a different card ("Ace of Swords"). Repeating this approach in using Tarot themes and renowned artwork, scenes from some of history's greatest triumphs and challenges are presented. At the end, the wind blows away the last two cards ("Moon" and "Sun") to reveal the Carnivàle title artwork. [More...]
CreativePro, Nov. 17, 2003
A52's Rick Hassen Reveals Small Studio Project Secrets at China's Inaugural Computer Graphics Festival
Rick Hassen, managing director of Clio-winning L.A. visual effects and design company A52 (www.a52.com), was one of a few Hollywood professionals to present at China's Computer Graphics Festival, which was held in Beijing on Oct. 9 and 10.
Design In Motion, Nov. 17, 2003
A52's Rick Hassen Reveals Small Studio Project Secrets at China's Computer Graphics Festival
Rick Hassen, managing director of Los Angeles visual effects and design company A52, was one of a select few American industry professionals to present at China's Computer Graphics Festival 2003, which was held in Beijing on October 9 and 10. Hassen's presentation -- attended by some 500 of the estimated 10,000 total festival attendees, comprising professionals from animation and production companies, game developers, hardware and software firms and TV stations, as well as students and professors from virtually every major Chinese art institution -- focused on sharing insights into how small studios can accommodate projects that expand during the production process.
Animation World Network, Nov. 14, 2003
A52’s Hassen Talks Small at China's Computer Graphics Festival
Rick Hassen, managing director of Clio-winning L.A. visual effects and design company A52 (www.a52.com), was one of a few Hollywood professionals to present at China's Computer Graphics Festival, which was held in Beijing on Oct. 9 and 10.
VFXPro, Nov. 14, 2003
Hassen Speaks at China's CG Festival
Los Angeles visual effects and design company A52's managing director Rick Hassen was one of a select few industry professionals chosen to present at China's Computer Graphics Festival, which was held in Beijing on Oct. 9 and 10.
CGFocus, Nov. 13, 2003
A52's Rick Hassen Reveals Small Studio Project Secrets at China's Inaugural Computer Graphics Festival
Hassen's presentation - attended by some 500 of the estimated 10,000 total festival attendees comprised of professionals from animation and production companies, game developers, hardware and software firms and TV stations, as well as students and professors from virtually every major Chinese art institution - focused on sharing insights into how small studios can accommodate projects that expand during the production process.
Animation Artist, Nov. 13, 2003
A52's Rick Hassen Reveals Small Studio Project Secrets at China's Inaugural Computer Graphics Festival
Clio-winning Los Angeles visual effects and design company A52's managing director Rick Hassen was one of a select few high-profile industry professionals to present at China's Computer Graphics Festival, which was held in Beijing on Oct. 9 and 10.
Digital Animators, Nov. 13, 2003
A52's Rick Hassen Reveals Small Studio Project Secrets at China's Inaugural Computer Graphics Festival
Clio-winning Los Angeles visual effects and design company A52's managing director Rick Hassen was one of a select few high-profile industry professionals to present at China's Computer Graphics Festival, which was held in Beijing on Oct. 9 and 10.
Digital Post Production, Nov. 13, 2003
A52's Rick Hassen Reveals Small Studio Project Secrets at China's Inaugural Computer Graphics Festival
Clio-winning Los Angeles visual effects and design company A52's managing director Rick Hassen was one of a select few high-profile industry professionals to present at China's Computer Graphics Festival, which was held in Beijing on Oct. 9 and 10.
Digital Producer, Nov. 13, 2003
A52's Rick Hassen Reveals Small Studio Project Secrets at China's Inaugural Computer Graphics Festival
Detailing the standard issues of the firm's CG production pipeline, Hassen pointed to render optimization and actual rendering power. "For optimizing a render, our team will look at camera perspectives and lights and try to determine how any adjustments will affect the final quality of the image. We'll seriously consider approaches that reduce the render time 30-50% with little or no compromise to the image."
Highend3D.com, Nov. 13, 2003
A52's Rick Hassen Confides in China
This first China Computer Graphics Festival was sponsored by China's Image and Graphics Association, Microsoft Asia Research, and Sina.com, the largest portal site of China. HP, Discreet, Softimage|XSI, Instec, Wacom and others also provided major support to the festival.
Creativity, Oct., 2003
The Work: Ars Way Longa
Thanks to Goodby Silverstein, once schlocky HP continues to reinvent itself as an elegant spearhead of our high-tech future via all sorts of borrowed interest. Here, it's fine art, as the company trumpets its connection with the National Gallery in London, where HP digital imaging technology "helps save the world's masterpieces." Whatever truth may be in that claim, bringing a painting to life via paint-flaking, color-drained people who are gradually restored to hang-on-the-wall health is a great idea, beautifully executed by director Rupert Sanders and the effects work of A52.
Creativity, Oct., 2003
Geek Chic
Plodding, pretentious twaddle or compellingly Lynchian study of good vs. evil? Viewers will ultimately decide what to make of Carnivale, the anticipated new HBO series that centers on the mysterious doings of characters who orbit a traveling carnival in Dust ...
Videography, Oct., 2003
A52 Tempts Fate for HBO's Carnivale
Profile on A52's work for HBO on Carnivale.
CreativeChannel Newsletter, Oct. 8, 2003
Member News: A52
Is there any non-CreativeChannel member who did not work on the Honda Element spot? Directed by Roman Coppola of The Directors Bureau, Purpose utilizes Lego blocks to build the Honda Element with the tag: Every piece has its purpose. Here's the rundown on talent: Directors Bureau - DP Jon Thomas and executive producer Cayce Cole; from editorial company Rock Paper Scissors, editor Ben Longland and producer Beth McLaughlin; from visual effects and CGI company SWAY, VFX supervisor Mark Glaser, executive producer Rachel Kaminek and digital artists Will Wira, Russell Isler, David Hopkins and Robert Glazer; and lastly, from visual effects company A52, Flame artist Marguerite Cargill, executive producer Darcy Leslie Parsons and producer Leighton Greer. Whew!
CG Channel, Oct. 17, 2003
SWAY STUDIO CREATES MAGIC IN VISUALLY STRIKING, ROMAN COPPOLA-DIRECTED SPOT FOR HONDA ELEMENT
Computer animation and visual effects house SWAY Studio, in association with A52, just completed work on a visually compelling, all-CGI spot for the new Honda Element via ad agency Rubin Postaer and Associates. Live-action footage was directed by Roman Coppola, which was then match-moved and turned into photo-real CGI by the artists at SWAY.
SHOOT, Oct. 17, 2003
SHORT CUTS
A52, Los Angeles, completed design and visual effects work for FOX Sports' customizable spot promoting the network's college football broadcasts. The :30, simply called "College Football," uses characters and elements from illustrator Arthur James, and appears layered together and treated artistically in a shadowbox. FOX creative execs wanted a specific look featuring tinfoil, and to cement their production approach, FOX's team worked with A52 visual effects supervisor/Inferno artist Patrick Murphy on a number of pre-visualization tests, including test shoots on DV and film. During one of the video tests, a technique that caught everyone's eye was a sheen "sparkle." Murphy used the test footage to create an automated setup in Discreet Inferno that ultimately allowed him to apply that effect to any piece of artwork from the final filmed elements. With the 3-D stages created inside Inferno, Murphy then moved individual elements and various other layers to animate the story. He also varied focal lengths, used defocusing and motion blur in certain scenes, applied the sparkle effects, created transitions, produced and layered-in type and did a final color-grade on the finished spot. Additional A52 credits go to managing director Rick Hassen, executive producer Darcy Leslie Parsons, and producer Leighton Greer. Murphy also handled the offline and online editing.
Business Wire, Oct. 10, 2003
SWAY Studio Creates Magic in Visually Striking, Roman Coppola-Directed Spot for Honda Element
Computer animation and visual effects house SWAY Studio, in association with A52, just completed work on a visually compelling, all-CGI commercial for the new Honda Element via ad agency Rubin Postaer and Associates. Live-action footage was directed by Roman Coppola of The Directors Bureau, which was then match-moved and turned into photo-real CGI by the artists at SWAY....
SHOOT, Oct. 10, 2003
SPECIAL REPORT: VISUAL EFFECTS_ The Sideshow; A52 creates promo for FOX Sports and the Carnivàle title sequence
A52, a Los Angeles-based visual effects company, recently worked on two high-profile, visual effects-based projects that differ from the company's usual spot work: "College Football," a client-direct commercial for FOX Sports that promotes the network's coverage of the 2003 college football season, and the opening title sequence for Carnivàle, an eerie new HBO series about a Depression-era traveling carnival. Each job dazzles in its own distinctive way....
SHOOT, Oct. 10, 2003
Delivery Issues: Method helps Hewlett-Packard and the U.S. Postal Service get it right
For instance "Restore" shows how H-P's digital imaging technology has been used to restore old paintings at the National Gallery in London. The spot builds a live action commercial out of a 17th century painting. (Effects on the ad were created by A52, Los Angeles.)
SHOOT, Oct. 10, 2003
Infidelity: A Tailor-Made Hot Love Seat: Director Thrush Explores The Ups And Downs Of Romantic Relationships For Mark Powell
Perhaps there's no better symbol of the war between men and women than the toilet seat. The inconsiderate male leaves the seat up, not thinking of his female companion—or so the conventional pet peeve goes. But in this case, it's the man who's left angry and hurt. Even more unusual, the ad effectively promotes—albeit in offbeat fashion—London-based custom clothes tailor Mark Powell. Editor was Chaplin Early of Rock Paper Scissors, Los Angeles. Beth Hagan produced for Rock Paper Scissors. Ben Looram of A52, Los Angeles, was the online editor. Colorist was Rajiv Bedi of Company 3, Santa Monica, with Trisha Wilson producing. Audio mixer was Eric Ryan of RavensWork, Venice, Calif. Music was composed by Ben Edwards via Expanding Records, London.
CreativeChannel Newsletter, Oct. 8, 2003
Member News: A52
Lexus LS 430 "Bridge" "Dam": Director: Jeff Zwart. Production Company: @radical media. Editing Company: Inside/Out Editorial. Editor: Stuart Waks. Visual Effects Company: A52
The Creativity E-Mail, Oct. 1, 2003
BREAKING
Rubin Postaer & Associates has introduced a new commercial for the Honda Element that contains quite a few elements itself. The completely CG spot -- directed by Roman Coppola of the Directors' Bureau and created by L.A. CGI house Sway via A52 -- shows a hail of "Mega Bloks" falling from the sky and locking together to form a complete Honda Element, a setup for the tag, "Every piece has its purpose." Additional credits go to editor Ben Longland at Rock Paper Scissors and composer Rob Lopez at music house HUM.
Film&Video Magazine, Sep., 2003
The Hot Seat
Profile of Patrick Murphy, Visual Effects Supervisor/Inferno Artist, A52, Los Angeles.
Millimeter Magazine, Sep., 2003
Cool Graphics
Profile of Fox Sports College Football Campaign.
CreativeChannel Newsletter, Sep. 24, 2003
Member News: A52
HBO's dramatic new series Carnivale, which debuted on the 14th of September, had a bit of help on their opening title sequence from the talented folks over at A52. The goal of A52 was to create a title sequence that grounded viewers in the mid-1930's while encouraging them to experience a larger presence of good and evil over time. The unprecedented effort united 3D, design, and visual effects that crescendoed into a magnificent final product. Rounding it out were executive producer Darcy Leslie Parsons, producer Scott Boyajan, creative director Angus Wall, lead designer Vonetta Taylor, designers Ryan Gibson and Jesse Monsour, Inferno artist Patrick Murphy, 3D supervisor Denis Gauthier and 3D animators Westley Sarokin and Jeff Willette.
Adweek, Sep. 22, 2003
Best Spots of August: HP "Restore"
Classic artwork is restored to its original splendor with the help of H-P digital imaging technology.
Boards Online, Sep. 22, 2003
Screening Room: HBO
William Blake meets historical footage in this multi-layered title sequence for HBO's new fall series Carnivale - the story of, yes, a traveling carnival wending its way across the Dust Bowl during the Great Depression of the '30s. LA FX shop A52 spent six months blending 2D, 3D, visual effects and stock to create the piece.
SHOOT, Sep. 19, 2003
EXTENDED TOP SPOT OF THE WEEK COVERAGE: Sanders Paints A Picture For HP
Additional credit also goes to A52, Los Angeles, Foulkes pointed out.
SHOOT, Sep. 19, 2003
TOP SPOT OF THE WEEK COVERAGE: Sanders Paints A Picture For HP
"Restore," a new :30 for Hewlett-Packard (HP), is quite simply a work of art. Created by Goodby, Silverstein & Partners (GS&P), San Francisco, and directed by Rupert Sanders of Omaha Pictures, Santa Monica, the commercial brings art to life and in doing so vividly illustrates the fact that HP's digital imaging technology has been used to restore centuries-old paintings on display at London's National Gallery.POST/VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, creative director/ Inferno artist; Scott Johnson, visual effects editor; Ron Cosentino, visual effects supervisor/ producer; Darcy Parsons, executive producer.
Computer Graphics World, Sep. 15, 2003
A52 Masters Fate in Title Sequence for HBO's Carnivàle
HBO's dramatic new series Carnivàle debuted on September 14, and the opening titles that will open each episode embody some of the most powerful visual magic the artisans of Clio-winning Los Angeles visual effects and design company A52 have ever conjured.
3DVF.com, Sep. 15, 2003
News du 15/09/2003
Le studio A52 vient de publier un making-of sur l'introduction de la mini-série Carnivàle.
DigitalProducer, Sep. 15, 2003
A52 Masters Fate in New Main Title Sequence for HBO's Carnivàle
HBO's dramatic new series Carnivàle is set to debut on Sept. 14, and the opening titles that will open each episode embody some of the most powerful visual magic the artisans of Clio-winning Los Angeles visual effects and design company A52 have ever conjured.
Animation World, Sep. 12, 2003
A52 Masters Fate in Carnivàle Main Titles
A52 recently completed the main titles for HBO's new series CARNIVÀLE (debuting Sept. 14, 2003), creatively juxtaposing famous works of art and iconic footage.
CGFocus, Sep. 12, 2003
A52 Masters Fate in New Main Title Sequence for HBO's Carnivàle
A52 conjures up the opening titles that will open each episode of HBO's dramatic new series Carnivàle is set to debut on Sept. 14.
Design In Motion, Sep. 12, 2003
A52 Masters Fate in Main Title Sequence for HBO's Carnivàle
For the past six months, A52 has been busy expanding its services in support of a major project: creating the :90 high-definition main title sequence for HBO's "Carnivàle." A52's work has been teased extensively in promos over the past month; the finished title sequence the team delivered to HBO will debut on September 14 with the series' first episode. (Includes QuickTime)
VFXWorld, Sep. 12, 2003
A52 Masters Fate in Carnivàle Main Titles
A52 recently completed the main titles for HBO's new series CARNIVÀLE (debuting Sept. 14, 2003), creatively juxtaposing famous works of art and iconic footage.
CGNetworks, Sep. 12, 2003
A52 Masters Fate in New Main Title Sequence for HBO's Carnivàle
A52 conjures up the opening titles that will open each episode of HBO's dramatic new series Carnivàle is set to debut on Sept. 14.
CG Channel, Sep. 11, 2003
A52 Masters Fate in New Main Title Sequence for HBO's Carnivàle
HBO's dramatic new series Carnivàle is set to debut on Sept. 14, and the opening titles that will open each episode embody some of the most powerful visual magic the artisans of Clio-winning Los Angeles visual effects and design company A52 have ever conjured.
New York Times, Sep. 9, 2003
Stuart Elliot's In Advertising: Luring Customers With Bait from the Future
The retailer is the Galyan's Trading Company, which operates 38 sports superstores in 18 states and has ambitious growth plans that include 5 additional stores by the end of the year. A campaign for Galyan's, now getting under way from its new agency, Young & Laramore in Indianapolis, promotes the chain with the anticipatory theme "What's next?" The commercials, with contributions from A52, a special effects company, and Headquarters, a production company, certainly provide a wow factor. In one, an injured runner inflates a device inside his shoe that creates a splint-like cuff around his ankle so he can continue in a race. In a second spot, a man in a storm activates a device on his jacket that whisks off the rain from an intensifying downpour. In a third commercial, a woman works out with an interactive punching bag that is almost a human sparring partner....
VFXPro Online Daily News, Sep. 3, 2003
A52 Delivers Fox Sports College Football Campaign
A52 provided design and visual effects work for Fox Sports' on-air promotions team, delivering a customizable new spot for Fox Sports' college football broadcasts. The :30 spot first aired on July 31; it will continue airing nationwide to promote the network's Saturday broadcasts throughout the college football season. (Includes QuickTime) [Link]
Animation World Magazine, Aug. 29, 2003
In the Eye of CGI Commercial Production
Sarah Baisley rounds up facts, thoughts and examples of issues and trends driving producers of CGI commercials today. Our survey includes viewpoints from: Denis Gauthier, CGI supervisor/3D artist and Westley Sarokin, digital effects artist, A52.
Computer Graphics World, Aug. 27, 2003
Fox Sports and A52 Team for College Football Campaign
Clio-winning visual effects and design company A52 have proudly detailed their design and visual effects work for Fox Sports' on-air promotions team for a customizable new spot for Fox Sports' College Football broadcasts. The new 30-second spot first aired on July 31 and will continue airing nationwide to promote the network's Saturday broadcasts throughout the season.
CreativeChannel Newsletter, Aug. 27, 2003
Member News: A52
Fox Sports called on A52 to work their magic in a new :30-second customized spot for 2003 College Football. Fox's creative called for the use of characters and elements to appear as though layered together and treated very artistically in a shadowbox. The concept was to create an ad that looked like something a couple of college art students would have made. The A52 huddle included Inferno artist/online editor Patrick Murphy, executive producer Darcy Leslie Parsons, and project producer Leighton Greer.
DesignInMotion e-News, Aug. 27, 2003
Director Ania Hoffman Engages A52 for Nike Spec Spot
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing a spec spot, she sought visual effects assistance from A52. The completed :30 spec spot is now helping the Russian-born Hoffman emerge as a talented young director in several major markets worldwide. (Includes QuickTime) [Link]
VFXPro Online Daily News, Aug. 27, 2003
A52 Delivers Fox Sports College Football Campaign
A52 provided design and visual effects work for Fox Sports' on-air promotions team, delivering a customizable new spot for Fox Sports' college football broadcasts. The :30 spot first aired on July 31; it will continue airing nationwide to promote the network's Saturday broadcasts throughout the college football season. (Includes QuickTime) [Link]
CREATIVITY E-Mail, Aug. 25, 2003
Fox Sports Animation Strikes Again
Is Fox Sports the new home of edgy animation? Along with a recent series of riotously eye-popping spots for the NFL on Fox -- courtesy of FCB/San Francisco, Motion Theory and Brand New School -- Fox Sports Net has begun promoting the college football season with a spot that looks like something off Tim Burton's cutting room floor. Based on 2D illustrations by Arthur James, the promo features cuts of a 3D diorama, inhabited by players and cheerleaders that appear to be made of tin foil, an effect created in Inferno by L.A. effects house A52, which handled effects and compositing for the piece. The result is what the Fox in-house team asked for, something that looks like it was made by art students who are "very into" college football.
Design In Motion, Aug. 25, 2003
Director Ania Hoffman Engages A52 for Nike Spec Spot
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing a spec spot, she sought visual effects assistance from A52. The completed :30 spec spot is now helping the Russian-born Hoffman emerge as a talented young director in several major markets worldwide. (Includes QuickTime)
DesignInMotion Online Newsletter, Aug. 25, 2003
Director Ania Hoffman Engages A52 for Nike Spec Spot
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing a spec spot, she sought visual effects assistance from A52. The completed :30 spec spot is now helping the Russian-born Hoffman emerge as a talented young director in several major markets worldwide. (Includes QuickTime) [Link]
Boards Online, Aug. 21, 2003
Stylin Football for Fox
When you think football, what comes to mind? Hot cheerleaders, brute strength, pure athleticism, driving competition? We're willing to bet 'stylish' is not one of the adjectives you'd use to describe one of America's favorite sports. Well get ready, as stylish is perhaps the best descriptor for Fox Sports' college football spot, created in-house in collaboration with LA effects shop A52....
Boards Online, Aug. 21, 2003
Screening Room: Fox College Football
CGNetworks, Aug. 21, 2003
New Fox Sports College Football ad campaign
Award-winning visual effects and design company A52 recently delivered design and vfx for Fox Sports' promotions for the College Football broadcasts.
CG Focus, Aug. 20, 2003
A52 gets artsy for Fox Sports College Football campaign
New Fox Sports College Football On-Air Campaign Reunites Fox Sports and A52 Team that Won Fourteen 2003 PROMAX&BDA Awards.
CGChannel, Aug. 20, 2003
A52 gets artsy for Fox Sports College Football campaign
New Fox Sports College Football On-Air Campaign Reunites Fox Sports and A52 Team that Won Fourteen 2003 PROMAX&BDA Awards.
Design In Motion, Aug. 20, 2003
A52 Delivers Fox Sports College Football Campaign
A52 provided design and visual effects work for Fox Sports' on-air promotions team, delivering a customizable new spot for Fox Sports' college football broadcasts. The :30 spot first aired on July 31; it will continue airing nationwide to promote the network's Saturday broadcasts throughout the college football season. (Includes QuickTime)
Digital Producer, Aug. 20, 2003
New Fox Sports College Football On-Air Campaign Reunites Fox Sports and A52
Clio-winning visual effects and design company A52 today proudly detailed their design and visual effects work for Fox Sports' on-air promotions team for a customizable new spot for Fox Sports' College Football broadcasts. The new :30 spot first aired on Jul. 31 and will continue airing nationwide to promote the network's Saturday broadcasts throughout the season.
Film&Video Magazine, Aug. 20, 2003
New Fox Sports College Football On-Air Campaign Reunites Fox Sports and A52
Clio-winning visual effects and design company A52 today proudly detailed their design and visual effects work for Fox Sports' on-air promotions team for a customizable new spot for Fox Sports' College Football broadcasts. The new :30 spot first aired on Jul. 31 and will continue airing nationwide to promote the network's Saturday broadcasts throughout the season.
Adweek, Aug. 18, 2003
Best Spots of July: ESPN X Games IX | "Lowrider"
As pro BMX rider Dave Mirra quietly pedals down the street, a menacing gang of ne'er-do-wells surround him (is it possible for adults on Stingrays to look menacing?). They force Mirra into a clearing, which holds a stunt platform and a large crowd of locals. The dude knows what he has to do. Pedaling furiously, he hits the platform, performs a mid-air somersault and nails a perfect landing. Let the games begin. Credits: Editor: Ben Longland/Rock Paper Scissors; Assistant Editor: Olaf Garcia/Rock Paper Scissors; Henry Artist: Dan Sumpter/A52.
MediaPost's Out to Launch, Aug. 6, 2003
Goodyear
Clio-winning visual effects and design company A52 has recently unveiled the details of their visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners San Francisco's Goodyear broadcast campaign. The campaign's first :30 spots - one entitled "Balls" and a second entitled "Screw" - continue airing nationwide, and a third spot will debut soon. This campaign features dramatic scenarios wherein harmless, mundane objects become threatening... thereby revealing the advanced safety features of Goodyear's products. In "Screw," the latest spot, a two-inch steel screw takes on a life of its own to plummet from the top of a city skyscraper, work its way into a busy street and then align itself with the front tire of a speeding BMW and stand upright. Fortunately for the driver and everyone else on that street, this is no ordinary tire; the vehicle continues racing along, as announcer Marcus McCollum says, "Sharp steel is no match for smart rubber. Tires with run-flat technology... On the Wings of Goodyear."
Boards Magazine, July 2003
Special Report: Animation + FX: A52
It's pretty good when one of your first-ever character animation projects can earn honors at a major international ad awards fest. That's what happened with West Hollywood-based A52 and Adidas "Slug", directed by Frank Budgen for TBWA\ Chiat\Day, SF, which clinched a silver Clio in May. Rick Hassen, managing director of A52 says that fully 98% of the West Hollywood post and visual effects shop's business is commercials. Holding steady at 26 people, two Henrys, three infernos, a graphics bay and three CGI stations running Houdini, the company is just the right size. "I'm a firm believer that the smaller businesses are the ones that are going to be able to change and adapt quicker."
CreativeChannel Newsletter, Jul. 31, 2003
Member News: A52
BBDO/NY teamed up with Villains and director Phil Joanou to illustrate AOL Broadband anti-virus capabilities. The spot, shot at the Barcelona International Airport, features individuals using laptops, palm pilots, etc., in a terminal as they're infected with a computer virus. A52 handled all the visual effects by making the computers cough, sneeze, hiccup in a display of the ill effects of a virus. Rounding it out for Villains were executive producers Robin Benson and Richard Goldstein, and producer Laurie Bocaccio. Editor Adam Pertofsky and executive producer Linda Carlson for Rock Paper Scissors were on board as well as A52's stellar lineup: executive producer Darcy Leslie Parsons, producer Ron Cosentino, effects supervisors Scott Boyajan and Ray Giarrantana, inferno artist Simon Brewster, and online editor Scott Johnson.
Animation Flash E-Mail Newsletter, Jul. 29, 2003
A52 Helps Young Director on Nike Spec Spot
In an effort to help cultivate new talent, A52 provided its services to recent Art Center College of Design graduate and rising director Ania Hoffman for work on her Nike spec commercial. As a result of the 30-second spot entitled FULL MOON, the Russian-born Hoffman received representation in Japan by production company Size. The relationship was kicked off when Hoffman was introduced to A52 producer Leighton Greer. With Greer as a mentor, Hoffman teamed with emerging young effects supervisor Westley Sarokin to create the commercial.
VFXPro e-news, Jul. 27, 2003
A52 Provides Pro-bono Services to Rising Director
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing the spec spot that would elevate her reel to the level of the commercial industry's top professionals, she began searching for a visual effects company. [Link]
Animation World Network, Jul. 24, 2003
A52 Helps Young Director on Nike Spec Spot
In an effort to help cultivate new talent, A52 provided its services to recent Art Center College of Design graduate and rising director Ania Hoffman for work on her Nike spec commercial. As a result of the 30-second spot entitled FULL MOON, the Russian-born Hoffman received representation in Japan by production company Size. The relationship was kicked off when Hoffman was introduced to A52 producer Leighton Greer. With Greer as a mentor, Hoffman teamed with emerging young effects supervisor Westley Sarokin to create the commercial.
VFXWorld, Jul. 24, 2003
A52 Helps Young Director on Nike Spec Spot
In an effort to help cultivate new talent, A52 provided its services to recent Art Center College of Design graduate and rising director Ania Hoffman for work on her Nike spec commercial. As a result of the 30-second spot entitled FULL MOON, the Russian-born Hoffman received representation in Japan by production company Size. The relationship was kicked off when Hoffman was introduced to A52 producer Leighton Greer. With Greer as a mentor, Hoffman teamed with emerging young effects supervisor Westley Sarokin to create the commercial.
Computer Graphics World, Jul. 23, 2003
A52 Aids Young Director's Houdini Creation
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing the spec spot that would elevate her reel to the level of the commercial industry's top professionals, she began searching for the best visual effects company in Los Angeles....
VFXPro, Jul. 23, 2003
A52 Provides Pro-bono Services to Rising Director
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing the spec spot that would elevate her reel to the level of the commercial industry's top professionals, she began searching for a visual effects company.
Deathfall 3D (Mexico), Jul. 22, 2003
Young A52 artist works CGI/VFX magic on Nike spec spot
Seamlessly Integrated CG Moon, Created in Houdini Using an Oren-Nayar Shader, Co-Stars in Gorgeous Spec
Boards Online, Jul. 17, 2003
Screening Room: Nike (spec) - Full Moon
Director Ania Hoffman reaches for the moon in this spec spot for Nike. VISUAL EFFECTS COMPANY: A52 (West Hollywood, CA). MANAGING DIRECTOR: Rick Hassen. EXECUTIVE PRODUCER: Darcy Leslie Parsons. PRODUCER: Leighton Greer. VISUAL EFFECTS SUPERVISOR: Westley Sarokin. ON-SET VISUAL EFFECTS SUPERVISOR: Westley Sarokin. 3D ANIMATOR: Westley Sarokin. FLAME ARTIST: Westley Sarokin. ONLINE EDITOR: Westley Sarokin.
CG Focus, Jul. 17, 2003
Young A52 artist works CGI/VFX magic on Nike spec spot: Full Moon
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing the spec spot that would elevate her reel to the level of the commercial industry's top professionals, she began searching for the best visual effects company in Los Angeles. Soon after crossing paths with a commercial producer whom she says "swore by A52," Hoffman was introduced to A52 producer Leighton Greer. With Greer as a shepherd and with the enthusiasm of emerging young effects artist Westley Sarokin, Hoffman accomplished a major feat by attaching A52's team to her project.
Highend3D, Jul. 17, 2003
A52's Westley Sarokin's CGI/VFX magic on Nike spec "Full Moon"
Director Ania Hoffman explained that the project depended on seamless execution of visual effects for cable removal, sky replacement and 3D modeling of the moon, requiring significant pre-production planning, on-set visual effects supervision and hours of tedious post-production. "A52 took this project on a pro-bono basis, but they gave me the same dedication they give to any professional project. I simply could not have done the spot without their generous assistance through all stages of production."
Pluginz.com, Jul. 17, 2003
Director Ania Hoffman Engages A52's Westley Sarokin for Nike's 'Full Moon' Spot
"While my director of photography Jonathan Sela consistently does an amazing job of lighting and capturing beautiful imagery, Westley's talent, patience, dedication to the exploration of all possibilities to arrive at the best ones were invaluable contributions," Hoffman explained. "He's extremely creative, has great instincts and a keen sense of color and composition. He sleeps less and works more than anyone I know - a testament to his dedication to the craft." This project's CGI moon was created in Houdini and rendered using RenderMan. Sarokin used Discreet flame for compositing, rotoscoping, sky replacement, rig removal, matte painting, color-grading and the final online conform.
CG Networks, Jul. 16, 2003
A52 completes VFX for Nike 'Full Moon'
LA-based A52 has delivered VFX for Nike's latest spot entitled 'Full Moon'. Directed by Ania Hoffman with A52 emerging VFX artist Westley Sarokin on the job, the spot features gorgeous use of CGI. << FULL STORY >>
CG Times (China), Jul. 16, 2003
(Coverage on Ania Hoffman's Spec "Full Moon" Spot)
Digital Post Production, Jul. 16, 2003
Director Ania Hoffman Engages A52's Westley Sarokin for Nike's "Full Moon" Spot
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing the spec spot that would elevate her reel to the level of the commercial industry's top professionals, she began searching for the best visual effects company in Los Angeles. Soon after crossing paths with a commercial producer whom she says "swore by A52," Hoffman was introduced to A52 producer Leighton Greer. With Greer as a shepherd and with the enthusiasm of emerging young effects artist Westley Sarokin, Hoffman accomplished a major feat by attaching A52's team to her project. more...
Digital Producer, Jul. 16, 2003
Director Ania Hoffman Engages A52's Westley Sarokin for Nike's "Full Moon" Spot
When recent Art Center College of Design graduate and rising director Ania Hoffman was facing the challenges of completing the spec spot that would elevate her reel to the level of the commercial industry's top professionals, she began searching for the best visual effects company in Los Angeles. Soon after crossing paths with a commercial producer whom she says "swore by A52," Hoffman was introduced to A52 producer Leighton Greer. With Greer as a shepherd and with the enthusiasm of emerging young effects artist Westley Sarokin, Hoffman accomplished a major feat by attaching A52's team to her project. more...
Film&Video Magazine, Jul. 16, 2003
Director Ania Hoffman Engages A52's Westley Sarokin for Nike's "Full Moon" Spot
The success of the recently completed :30 spec spot entitled "Full Moon" has helped the Russian-born Hoffman land commercial representation in Japan by production company Size -- and has also engaged her in a number of pitches. She is also currently negotiating for representation in other territories around the world. more...
AdCritic.com, Jul. 11, 2003
ESPN - The Uninvited
The X Games meet Hef in L.A. Visual Effects: A52 - Los Angeles.
SHOOT, Jul. 11, 2003
Crew Cuts/West Educates Kids For PG&E
Two commercials follow PG&E workers on their daily routine. In "Kick" (:30), Stan tells viewers that he waits for the right moment to tell his customers how they can get the most out of their appliances, as scenes of people beating up their old appliances are shown. "Helmet" (:30) shows Dave--who dresses up in an oversized helmet costume-to educate kids about energy safety. "Kick" began airing Feb. 16, and "Helmet" broke June 30. POST/VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, visual effects artist; Ron Cosentino, producer.
CG Times (China), Jul. 7, 2003
(Coverage on Ford SUV campaign)
CG Times (China), Jul. 1, 2003
(Coverage on Clio Award Win)
Animation World Network FLASH, Jun. 26, 2003
A52 Conjures Road Hazards for Goodyear Campaign
According to art director Paul Foulkes, A52 was approached "because we wanted special effects that you don't really see." For SCREW, A52's CGI team used Side Effects Software's Houdini to create the steel menace in every single shot. A52's creative director Simon Brewster served as visual effects supervisor and inferno artist on the campaign, and was particularly pleased with the work on SCREW. "The spot has an understated and fun story," Brewster says. "We set out to make the animated screw fit in seamlessly with the live-action plates for a photo-real look. The CGI team created the animated screw and the shots were integrated in Inferno." RenderMan was used to render the animated elements.
Animation World Network SPOTLIGHT, Jun. 26, 2003
AWN Headline News In Brief: Commercials
A52 Conjures Road Hazards for Goodyear Campaign
Boards Online, Jun. 25, 2003
Screening Room: Goodyear
A single screw, apparently intent on thwarting the journey of a passing BMW, falls from a skyscraper and works it's way upright under the car's tire. Too bad for the screw the Beemer's got Goodyear run-flat tires. A simple visual spot from Noam Murro, GS&P and A52.
Credits: Visual Effects: A52. Managing Director: Rick Hassen. Executive Producer: Darcy Parsons. Producer: Ron Cosentino. Visual Effects Supervisor: Simon Brewster. On-set Visual Effects Supervisor: Ron Cosentino, Westley Sarokin. Inferno Artist: Simon Brewster. Henry Artist/Online Editor: Scott Johnson. 3D Animators: Denis Gauthier, Westley Sarokin, Jeff Willette, David Burton.
CG Times (China), Jun. 25, 2003
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CG Visual (China), Jun. 25, 2003
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A52 share their visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners/San Francisco's Goodyear broadcast campaign.
Design In Motion e-news, Jun. 25, 2003
A52 Conjures Road Hazards for Goodyear Broadcast Campaign
A52 provided visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners's Goodyear broadcast campaign. The campaign's first :30 spots -- "Balls" and "Screw" -- are airing nationwide, and a third spot will debut soon. (Includes QuickTime) [Link]
VFXpro e-news, Jun. 25, 2003
A52 Conjures Road Hazards for Goodyear Broadcast Campaign
A52 provided visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners's Goodyear broadcast campaign. The campaign's first :30 spots -- "Balls" and "Screw" -- are airing nationwide, and a third spot will debut soon. (Includes QuickTime) [Link]
VFXWorld, Jun. 25, 2003
Houdini's Magical, Innovative Touch
VFX supervisors from three top houses explain why they depend on Houdini for modeling, rendering and animation.
Animation World Network, Jun. 24, 2003
A52 Conjures Road Hazards for Goodyear Campaign
According to art director Paul Foulkes, A52 was approached "because we wanted special effects that you don't really see." For SCREW, A52's CGI team used Side Effects Software's Houdini to create the steel menace in every single shot. A52's creative director Simon Brewster served as visual effects supervisor and inferno artist on the campaign, and was particularly pleased with the work on SCREW. "The spot has an understated and fun story," Brewster says. "We set out to make the animated screw fit in seamlessly with the live-action plates for a photo-real look. The CGI team created the animated screw and the shots were integrated in Inferno." RenderMan was used to render the animated elements.
VFXWorld, Jun. 24, 2003
A52 Conjures Road Hazards for Goodyear Campaign
According to art director Paul Foulkes, A52 was approached "because we wanted special effects that you don't really see." For SCREW, A52's CGI team used Side Effects Software's Houdini to create the steel menace in every single shot. A52's creative director Simon Brewster served as visual effects supervisor and inferno artist on the campaign, and was particularly pleased with the work on SCREW. "The spot has an understated and fun story," Brewster says. "We set out to make the animated screw fit in seamlessly with the live-action plates for a photo-real look. The CGI team created the animated screw and the shots were integrated in Inferno." RenderMan was used to render the animated elements.
CreativeChannel Newsletter, Jun. 24, 2003
Member News From Around the Globe: A52
For the Goodyear Broadcast campaign that's currently running, Goodby Silverstein & Partners' creative team joined forces with director Noam Murro/Biscuit Filmworks and visual effects and design company A52. This campaign features dramatic scenarios wherein harmless, mundane objects become threatening. In Screw, a two-inch steel screw takes on a life of its own to plummet from the top of a city skyscraper, work its way into a busy street, and align itself upright with the front tire of a speeding BMW. The second spot, Balls displays dozens of rubber balls rolling out into a street. A SUV slows to a stop as children run out to collect them. Executive producer Shawn Lacy-Tessaro and producer Jay Veal served it up for Biscuit -- as well as the usual suspects from A52: executive producer Darcy Leslie-Parsons, producer Ron Cosentino, effects supervisor Simon Brewster, and 3D animators Denis Gauthier, Westley Sarokin, Jeff Willette and David Burton.
3D Festival, Jun. 23, 2003
A52 nails CG/Effects for GS&P's Goodyear campaign
Clio-winning visual effects and design company A52 today proudly detailed their visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners/San Francisco's Goodyear broadcast campaign.
Computer Graphics World, Jun. 23, 2003
A52 Conjures Threatening Road Hazards for Goodyear
o-winning visual effects and design company A52 detailed their visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners/ San Francisco's Goodyear broadcast campaign. The campaign's first 30-second spots - one entitled "Balls" and a second entitled "Screw" - continue airing nationwide, and a third spot will debut soon. This campaign features dramatic scenarios wherein harmless objects become threatening...
Deathfall 3D, Jun. 23, 2003
A52 Nails CG/Effects for GS&P's Goodyear Campaign
A52 used Houdini and Flame for these commercials, take a look at them!
Design In Motion, Jun. 23, 2003
A52 Conjures Road Hazards for Goodyear Broadcast Campaign
A52 provided visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners's Goodyear broadcast campaign. The campaign's first :30 spots -- "Balls" and "Screw" -- are airing nationwide, and a third spot will debut soon. (Includes QuickTime)
Design In Motion e-news, Jun. 23, 2003
A52 Conjures Road Hazards for Goodyear Broadcast Campaign
A52 provided visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners's Goodyear broadcast campaign. The campaign's first :30 spots -- "Balls" and "Screw" -- are airing nationwide, and a third spot will debut soon. (Includes QuickTime) [Link]
Post Magazine, Jun. 23, 2003
A52 TURNS THE SCREW FOR GOODYEAR
Visual effects and design company A52 (www.a52.com) recently completed effects work for the new Goodyear campaign, including the :30 screw, which follows a two-inch steel screw as it positions itself in the path of an oncoming car....
VFXPro, Jun. 23, 2003
A52 Conjures Road Hazards for Goodyear Broadcast Campaign
A52 provided visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners's Goodyear broadcast campaign. The campaign's first :30 spots -- "Balls" and "Screw" -- are airing nationwide, and a third spot will debut soon. (Includes QuickTime)
CG Focus, Jun. 20, 2003
A52 Nails CG/Effects for GS&P's Goodyear Campaign
Clio-winning visual effects and design company A52 today proudly detailed their visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners/ San Francisco's Goodyear broadcast campaign. The campaign's first :30 spots - one entitled "Balls" and a second entitled "Screw" - continue airing nationwide, and a third spot will debut soon. This campaign features dramatic scenarios wherein harmless, mundane objects become threatening... thereby revealing the advanced safety features of Goodyear's products. In the words of the campaign's art director Paul Foulkes, A52 was approached for this project, "...specifically because we wanted special effects that you don't really see." For "Screw," A52's CGI team used Side Effects Software's Houdini to create the steel menace in every single shot.
Digital Producer, Jun. 20, 2003
A52 Conjures Road Hazards for Goodby, Silverstein & Partners' Goodyear Broadcast Campaign
Clio-winning visual effects and design company A52 today proudly detailed their visual effects work for Biscuit Filmworks and director Noam Murro for Goodby, Silverstein & Partners/ San Francisco's Goodyear broadcast campaign. The campaign's first :30 spots - one entitled "Balls" and a second entitled "Screw" - continue airing nationwide, and a third spot will debut soon.
Highend3D.com, Jun. 20, 2003
A52 Nails CG/Effects for GS&P's Goodyear Campaign...
For the Goodyear broadcast campaign that's currently running two spots far and wide ("Balls" and "Screw") and which will break another new spot very soon, A52 has been busy working with Goodby Silverstein & Partners' creative team and director Noam Murro to work out the production details -- then creating some surprising CGI elements (via Houdini), handling compositing and other visual effects (via discreet flame).
SHOOT, June 20, 2003
Endless Noise Cares For CIGNA
Four commercials—"George" (:60/:30), "Patricia," "Bill" and "Cheryl" (all :30s)—feature portraits of benefit managers giving their perspectives on job responsibilities. "Every benefits manager has a story to tell," states the voiceover by Donald Sutherland. "At CIGNA, we provide employee benefits that hear them. CIGNA: a business of caring." Spots broke in late April. VISUAL EFFECTS: A52, Los Angeles. Rick Hassen, managing director; Darcy Leslie Parsons, executive producer; Leighton Greer, producer; Patrick Murphy, lead designer; Mason Yi, graphic designer.
SHOOT, June 6, 2003
A52 Puts Lexus RX 330 On Notice
Four :30s introduce the Lexus RX 330, with each ad featuring groups of people representing Lexus' international competitors in England, Italy and Germany. In the teaser "Boardroom," a woman hurries into a meeting with an envelope. She hands one of the men the package, which contains photographs of the Lexus RX 330. He stands up and leaves the room. The voiceover states, "This April, Lexus will put the world on notice … again. The entirely new RX 330: It's coming." In "Auditorium," footage of the RX 330's technology is projected onto large screens, while a man points out the features to a group of assembled people. Suddenly, another man interrupts, stating, "Enough. So what do we do now?" "Clean Room" shows engineers inspecting the interior of the RX 330, impressed by what they find (leather seats, rear seat DVD entertainment system, power rear windows), as well as a rear-view camera on the back of the vehicle. And "Test Track" features the automobile being driven around a track, while two men watch high above the course. One of the men is awe-struck while the other appears annoyed. As the two men head down to the track, the irritated man winds up behind the wheel of the RX 330 after telling the driver to take his car home—again. POST/VISUAL EFFECTS: A52, Los Angeles. Rick Hassen, managing director; Darcy Leslie Parsons, executive producer; Scott Boyajan, producer; Simon Brewster, Inferno artist; Westley Sarokin, visual effects artist; Scott Johnson, Henry artist/online editor.
Design In Motion, June 3, 2003
A52's Work Earns Clios For Visual Effects
At the May 20 Clio Awards celebration in Miami, visual effects and design company A52 was honored with a Silver Clio Award for Television & Cinema Visual Effects for their work on the Adidas "Slugs" for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam. (Includes QuickTime)
Design In Motion, June 3, 2003
W+K, Endless Noise Receive Honors for Nike 'Before'
At the gala 2003 D&AD Awards ceremony in London, commercial music and sound design company Endless Noise shared in Wieden + Kennedy Portland's win of a D&AD Silver Award (Yellow Pencil) for TV & Cinema Advertising Crafts: Use of Music for Nike "Before," a spot conceived by W+K creative directors Hal Curtis and Carlos Bayala. Visual Effects Company: A52, Los Angeles. Managing Director, Rick Hassen. Executive Producer, Darcy Leslie Parsons. Producer, Leighton Greer. Henry Artist/On-Line Editor: Dan Sumpter.
Journal of Computer Graphics (China), May, 2003
Five Spot Chrysler Campaign
Client: Chrysler Group. Visual Effects Company: A52, West Hollywood. Project work featured on CD-ROM.
SHOOT, May 30, 2003
D&AD: no gold but big silver lining
Below is a complete list of the '03 Silver D&AD winners:
Use of Music: Nike, "Before." A52, Los Angeles. Dan Sumpter, Henry artist/online editor; Darcy Leslie Parsons, visual effects supervisor; Rick Hassen, managing director; Leighton Greer, producer.
The Animation Flash E-mail Newsletter, May 27, 2003
CLIO AWARDS HANDED OUT FOR TOP COMMERCIALS
Clio is the world's largest and most famous advertising awards competition in the international advertising and business communities. Another Adidas spot took home the Silver prize for Best Visual Effects. "Slugs" from advertising agency San Francisco ad agencies 180 and TBWA\Chiat\Day, was produced by Gorgeous Enterprises out of London with Los Angeles-based A52 handling the animation. Frank Budgen directed the spot with Denis Gauthier, Jeff Willette and Craig Halperin serving as animators. Simon Brewster served as a VFX supervisor on the commercial. A52's on-set FX supervisor Darcy Leslie Parsons said, "Winning this award is a phenomenal achievement for A52 - mainly because our artists are so talented at creating photoreal CGI and making visual effects integrate so seamlessly with live-action photography that most people just see the finished product and don't realize we've worked our magic."
Computer Graphics World, May 27, 2003
A52's Photoreal CGI and Seamless Effects Earn Clio
At the recent Clio Awards in Miami, visual effects and design company A52 was honored with a Silver Clio Award for Television & Cinema Visual Effects for their work on the Adidas "Slugs" for Gorgeous Enterprises.
CreativeChannel Newsletter, May 27, 2003
Member News From Around the Globe: A52
The new CIGNA broadcast campaign, directed by Michael Karbelnikoff/HKM via DDB/New York, debuted its first spot entitled George. In the spot, (and three others in the works - "Patricia," "Bill" and "Cheryl"), individual benefits managers relate their perspective on their job responsibilities. Each ad is cinematically photographed by Karbelnikoff and complemented by an original score composed by Endless Noise creative director and lead composer Jeff Elmassian and composer Andy Rehfeldt. Other HKM talents were provided by executive producer Lisa Prentis Margulis and producer Pete Vitale while additional contributions included editor Chuck Willis/Crew Cuts; graphic design elements from A52 - producer Leighton Greer, lead designer Patrick Murphy and graphic designer Mason Yi; and last but not least, Endless Noise producer, Kacy Palmieri.
VFXPro, May 27, 2003
A52 Wins Silver Clio for 'Slugs'
Visual effects and design company A52 has been honored with a Silver Clio Award for Television & Cinema Visual Effects for their work on the Adidas "Slugs." A52 also contributed to two other Clio-winning spots: They provided CGI and visual effects for Sony PlayStation2 "Signs," which won Silver in the Direction category for Dante Ariola, MJZ and TBWA\Chiat\Day's creative team; and they handled visual effects on VW Beetle "Bubble," which won a Bronze Clio in the Automotive category for Mike Mills, The Directors Bureau and Arnold Worldwide's creative team. "Bubble" has also recently earned an International Andy Award, a One Show Gold Pencil and an International Automotive Advertising Silver Award.
Animation Artist, May 23, 2003
A52's Photoreal CGI and Seamless Effects Earn Clio For Visual Effects
At Wednesday night's Clio Awards in Miami, visual effects and design company A52 was honored with a Silver Clio Award for Television & Cinema Visual Effects for their work on the Adidas "Slugs" for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam.
Animation World Network, May 23, 2003
Clio Awards Handed Out For Top Commercials
Another Adidas spot took home the Silver prize for Best Visual Effects. "Slugs" from San Francisco ad agencies 180 and TBWA\Chiat\Day, was produced by Gorgeous Enterprises out of London with Los Angeles-based A52 handling the animation. Frank Budgen directed the spot with Denis Gauthier, Jeff Willette and Craig Halperin serving as animators. Simon Brewster served as a VFX supervisor on the commercial. A52's on-set FX supervisor Darcy Leslie Parsons said, "Winning this award is a phenomenal achievement for A52 – mainly because our artists are so talented at creating photoreal CGI and making visual effects integrate so seamlessly with live-action photography that most people just see the finished product and don't realize we've worked our magic."
CGFocus, May 23, 2003
A52 wins Clio for visual effects with Adidas Slugs
At Wednesday night's Clio Awards in Miami, visual effects and design company A52 was honored with a Silver Clio Award for Television & Cinema Visual Effects for their work on the Adidas "Slugs" for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam. The spot features a pair of seemingly empty Adidas A3 running shoes jogging through the streets of a crowded city, and at the end, a slug is revealed inside each one. A52's team was led by A52's executive producer Darcy Leslie Parsons, producer Ron Cosentino and creative director and project visual effects supervisor Simon Brewster, who also served as inferno artist. Brewster began by painting the actual runner out of the jogging shoes - and he also did extensive clean-up of the shoes, replacing them in every shot for the proper choreographed movement and compositing-in shoe interiors. A52's CGI team used Houdini to create the animated slugs, 3D Equalizer for camera tracking, Deep Paint 3D for painting and texture mapping, Renderman for rendering and Silicon Grail Chalice for compositing. Brewster integrated CGI, live-action and graphic design elements in inferno.
Creativity E-Mail, May 23, 2003
SPOT OF THE DAY: Reebok "Peace On Earth"
Shakira writhes in the sand and makes her mark in Reebok's latest, directed by music video maven Sophie Muller. Visual effects by A52.
Deathfall3D, May 23, 2003
A52 Wins Clio for Visual Effects on Adidas "Slugs"
Congratulations to A52 for this award! Check out the behind the scenes and the full spot!
Deathfall3D, May 23, 2003
A52 ganó un Clio por los Efectos Visuales en Adidas
¡Felicidades a A52 por este premio! ¡Vean el comercial completo!
Digital Producer, May 23, 2003
A52's Photoreal CGI and Seamless Effects Earn Clio For Visual Effects
At Wednesday night's Clio Awards in Miami, visual effects and design company A52 was honored with a Silver Clio Award for Television & Cinema Visual Effects for their work on the Adidas "Slugs" for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam.
Film&Video Magazine, May 23, 2003
A52's Photoreal CGI and Seamless Effects Earn Clio For Visual Effects
At Wednesday night's Clio Awards in Miami, visual effects and design company A52 was honored with a Silver Clio Award for Television & Cinema Visual Effects for their work on the Adidas "Slugs" for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam.
Highend3D, May 23, 2003
A52 Wins Clio for Visual Effects on Adidas "Slugs"
At Wednesday night's Clio Awards in Miami, visual effects and design company A52 was honored with a Silver Clio Award for Television & Cinema Visual Effects for their VFX & CGI work on the Adidas "Slugs" for Gorgeous Enterprises, director Frank Budgen, 180/TBWA and 180/Amsterdam. In the words of executive producer Darcy Leslie Parsons (excerpted from full release online at the link above) the win is "...a phenomenal achievement for A52 - mainly because our artists are so talented at creating photoreal CGI and making visual effects integrate so seamlessly with live-action photography that most people just see the finished product and don't realize we've worked our magic." A52 also contributed to two other Clio-winning spots: They provided CGI and visual effects for Sony PlayStation2 "Signs," which won Silver in the Direction category for Dante Ariola, MJZ and TBWA\Chiat\Day's creative team, and they handled visual effects on VW Beetle "Bubble," which won a Bronze Clio in the Automotive category for Mike Mills, The Directors Bureau and Arnold Worldwide's creative team. "Bubble" has also recently earned an International Andy Award, a One Show Gold Pencil and an International Automotive Advertising Silver Award.
Pluginz.com, May 23, 2003
A52 takes home a Clio for Visual Effects
A52's Photorealistic CGI and seamless effects earn them a CLIO for Visual Effects...
SHOOT, May 23, 2003
"Lamp" Lights Up The Clio Awards
Below is a list of the '03 gold and silver TV Clio winners:
Visual Effects, Silver: adidas, "Slugs." A52, Los Angeles. Simon Brewster, creative director/visual effects supervisor/Inferno artist; Denis Gauthier and Jeff Willlette, 3-D supervisors/animators; Tim Bird, Marguerite Cargill and Kristin Johnson, Inferno artists; Scott Johnson, Henry artist/online editor, Craig Halperin, 3-D animator; Darcy Leslie Parsons, executive producer/on-set visual effects producer; Ron Cosentino, producer.
Direction, Silver: Sony PlayStation 2, "Signs." A52, Los Angeles. Patrick Murphy, on-set visual effects supervisor/lead artist; Marguerite Cargill and Tim Bird, Inferno artists; Jeff Willette, Westley Sarokin, Denis Gauthier and Craig Halperin, CGI artists; Rick Hassen, managing director; Darcy Parsons, executive producer; Leighton Greer, producer.
Automotive, Bronze: Volkswagen of America, "Bubble Boy." A52, Los Angeles. Patrick Murphy, visual effects supervisor/Inferno artist; Ben Looram, assistant Inferno artist/online editor; Darcy Parsons and Rick Hassen, executive producers; Scott Boyajan, producer.
VFXWorld, May 23, 2003
Clio Awards Handed Out For Top Commercials
Another Adidas spot took home the Silver prize for Best Visual Effects. "Slugs" from San Francisco ad agencies 180 and TBWA\Chiat\Day, was produced by Gorgeous Enterprises out of London with Los Angeles-based A52 handling the animation. Frank Budgen directed the spot with Denis Gauthier, Jeff Willette and Craig Halperin serving as animators. Simon Brewster served as a VFX supervisor on the commercial. A52's on-set FX supervisor Darcy Leslie Parsons said, "Winning this award is a phenomenal achievement for A52 – mainly because our artists are so talented at creating photoreal CGI and making visual effects integrate so seamlessly with live-action photography that most people just see the finished product and don't realize we've worked our magic."
Design In Motion, May 21, 2003
Endless Noise Scores CIGNA Television Campaign
Commercial music and sound design company Endless Noise composed music for a CIGNA broadcast campaign from director/director of photography Michael Karbelnikoff of HKM Productions and agency DDB New York. The four-spot campaign -- "George," "Bill," "Cheryl" and "Patricia" -- debuted on May 14. Additional Graphic Design: A52, Los Angeles. Producer, Leighton Greer; Managing Director, Rick Hassen; Executive Producer, Darcy Leslie Parsons; Lead Designer, Patrick Murphy; Graphic Designer, Mason Yi.
CreativeChannel Newsletter, May 14, 2003
Member News From Around the Globe: A52 / Rock Paper Scissors
A whole lot shakin' over at A52! Having just scored big at the Andys for VW Beetle Convertible (Bubble Teaser and Chain Reaction), it seems the team has recently handled a number of other campaigns: VFX for BBDO's Skittle campaign (Sunset - with more to come); BBDO's AOL Broadband (Sharon and Monastery); Leo Burnett's breaking Kellogg's/Special K (which was cut by Rock Paper Scissors' Adam Pertofsky); Arnell Group's Peace On Earth spot for Reebok (edited by Bee Ottinger at RPS); and new Gatorade spots from Element 79 Partners (Playmates, What Drives You? and Wrung Out). Whew.
Adweek, May 12, 2003
Best Spots of April: Goodyear "Balls"
Goodby, Silverstein & Partners/San Francisco. Bouncing dodge balls color the suburban landscape in this intelligent commercial. As the balls and SUV converge, children can be heard but not seen. Finally, the balls hit the street, forcing the vehicle to brake suddenly. That's when the kids appear en masse. VO: "The unexpected can be planned for. Tires with proven stopping power." Safety is the reason to buy tires -- not just for the driver's well-being but for the welfare of pedestrians, especially children. The spot is right on message. Special Effects: A52.
DesigninMotion e-news, May 12, 2003
Anonymous Content, A52 Team for Lexus RX 330 Campaign
A52 contributed visual effects work for Anonymous Content and director Andrew Douglas for Team One Advertising's Lexus RX 330 luxury utility vehicle broadcast campaign. The campaign's :30 teaser, entitled "Boardroom," broke nationally on March 15; the other :30s in the campaign ("Auditorium," "Clean Room" and "Test Track") debuted on April 1. (Includes QuickTimes) [Link.]
Shoot Magazine, May 2, 2003
Hydraulx Hires Randall As Executive Producer
Eliza Randall has been named executive producer at Hydraulx, a Santa Monica-based visual effects house active in commercials, music videos, film and TV. In addition to executive producing jobs, Randall will serve as visual effects supervisor on select projects. Randall had formerly been freelancing as a visual effects producer/supervisor, working regularly with Hydraulx on campaigns for Hanes, Cover Girl and Nike. Her freelance endeavors also entailed projects for PSYOP, New York; Method, Santa Monica; and A52, Los Angeles. She additionally freelanced as an effects/post supervisor for such production companies as bicoastal/international Believe Media, and now defunct Palomar Pictures.
Videography e-news, May 7, 2003
A52 Works with Anonymous Content for Lexus
Visual effects and design company A52 detailed their visual effects work for Anonymous Content and director Andrew Douglas for Team One Advertising's new Lexus RX 330 luxury utility vehicle broadcast campaign. [Link.]
DesigninMotion e-news, May 7, 2003
Anonymous Content, A52 Team for Lexus RX 330 Campaign
A52 contributed visual effects work for Anonymous Content and director Andrew Douglas for Team One Advertising's Lexus RX 330 luxury utility vehicle broadcast campaign. The campaign's :30 teaser, entitled "Boardroom," broke nationally on March 15; the other :30s in the campaign ("Auditorium," "Clean Room" and "Test Track") debuted on April 1. (Includes QuickTimes) [Link.]
VFXPro, May 6, 2003
A52 Works with Anonymous Content for Lexus
Visual effects and design company A52 detailed their visual effects work for Anonymous Content and director Andrew Douglas for Team One Advertising's new Lexus RX 330 luxury utility vehicle broadcast campaign.
Design In Motion, May 2, 2003
Anonymous Content, A52 Team for Lexus RX 330 Campaign
A52 contributed visual effects work for Anonymous Content and director Andrew Douglas for Team One Advertising's Lexus RX 330 luxury utility vehicle broadcast campaign. The campaign's :30 teaser, entitled "Boardroom," broke nationally on March 15; the other :30s in the campaign ("Auditorium," "Clean Room" and "Test Track") debuted on April 1. (Includes QuickTimes)
Digital Producer, May 2, 2003
Director Andrew Douglas Teams with A52's Simon Brewster to Help Lexus Put the World On Notice
Visual effects and design company A52 today proudly detailed their visual effects work for Anonymous Content and director Andrew Douglas for Team One Advertising's new Lexus RX 330 luxury utility vehicle broadcast campaign. The campaign's teaser :30, entitled "Boardroom," broke nationally on Mar. 15, and three more :30s ("Auditorium," "Clean Room" and "Test Track") continue airing nationwide.
Post Magazine, May 2, 2003
A52 HELPS LEXUS PUT THE WORLD ON NOTICE
Visual effects/design company A52 teamed up with Anonymous Content and director Andrew Douglas for new Lexus RX 330 campaign via Team One Advertising.
Post Magazine Daily Newsletter, May 2, 2003
A52 HELPS LEXUS PUT THE WORLD ON NOTICE
Visual effects/design company A52 teamed up with Anonymous Content and director Andrew Douglas for new Lexus RX 330 campaign via Team One Advertising. [Link.]
CreativeChannel, Apr. 23, 2003
The Buzz on A52
The buzz - by its very ephemeral nature -- on visual effects and design company A52’s strengths can be very subjective. But while creatives love to hang out at the company's West Hollywood digs, and while the company's artists consistently draw raves for their unique skills, the majority of A52’s kudos come by virtue of their willingness to collaborate creatively throughout a project’s lifecycle - and their creed of never compromising on quality....
Digital Production (Germany), Mar./Apr., 2003
Wer joggt denn da? Slugs lieben Subsurface-Scattering
Bei diesem witzigen Adidas-Werbespot kamen neben Renderman auch Houdini, Deep Paint 3D und Silicon Grail Chalice zum Einsatz. MORE
Computer Graphics World, Apr. 3, 2003
A52 Creates FX for Ford SUV Broadcast Campaign
Visual effects and design company A52 have detailed their visual effects and design work for Flying Tiger Films and director Robert Gordon for J. Walter Thompson's new Ford Explorer "Sand Trap" and Ford Expedition "Water Hazard" 30-second broadcast spots, which broke during coverage of the Ford Championship at Doral on March 6 and will continue airing in the weeks ahead.
CreativeChannel Newsletter, Apr. 2, 2003
Member News From Around the Globe: A52 / Rock Paper Scissors
Visual effects and design company A52 detailed their work for Flying Tiger Films via J. Walter Thompson's new Ford Explorer Sand Trap and Ford Expedition Water Hazard :30 broadcast spots that broke during coverage of the Ford Championship at Doral. The tongue-in-cheek spots feature top-ranked PGA player Phil Michelson practicing his game in the desert and in the swamp. The project team included managing director Rick Hassen, executive producer Darcy Leslie Parsons, creative director/lead inferno artist Simon Brewster, 3D animators Westley Sarokin and Jeff Willette, inferno artists Tim Bird and Marguerite Cargill, and Henry artist/online editor Scott Johnson.
Design In Motion, Apr. 2, 2003
A52, Flying Tiger Films Deliver Ford SUV Spots
A52 provided visual effects and design work for Flying Tiger Films and director Robert Gordon for J. Walter Thompson's Ford Explorer "Sand Trap" and Ford Expedition "Water Hazard" :30 broadcast spots, which debuted on March 6. (Includes QuickTimes)
Out to Launch, Apr. 2, 2003
Ford Expedition/Explorer Phil Michelson Campaign
Another new car campaign is from J.Walter Thompson and A52. They worked together to design and add visual effects to Ford Explorer's new TV campaigns. The two :30 ads called "Sand Trap" and "Water Hazard" broke during the Ford Championship at Doral in March. The spots feature golfer Phil Mickelson practicing his game in the desert, where he drives the ball from the top of one dune into a bucket on another, and in the swamp, where he tees off amid alligators to land balls on lily pads. The copy explains, "To stay at the top of his game, Phil Mickelson will go to any extreme. We engineered Ford Expedition the same way."
Journal of Computer Graphics (China), Mar., 2003
Novell "Fireflies"
Client: Novell. Visual Effects and Animation Company: A52. Project appears on CD-ROM.
VFXPro, Mar. 31, 2003
A52 Works for Flying Tiger Films
Visual effects and design company A52 completed visual effects and design work for Flying Tiger Films and director Robert Gordon for two new Ford spots.
Digital Post Production, Mar. 28, 2003
A52 Composites CGI Golf Balls into Live Footage for New Ford Spots
A52's team created CGI golfballs and A52's creative director and lead project Inferno artist Simon Brewster composited the balls and Michelson into the backgrounds, as well as enhancing and cleaning-up the backgrounds, color-balancing the skies and color-grading the finished spots. Brewster also composited-in CGI sand, water and lily pad “splash” effects, and removed lots of vehicle tracks from the desert dunes. The animation was created in SideEffects Software’s Houdini, rendered in Renderman and composited in Silicon Grail Chalice.
Film&Video Magazine, Mar. 28, 2003
A52 Composites CGI Golf Balls into Live Footage for New Ford Spots
Input from JWT's project art director Kaoru Seo focused on A52's creative director and lead project Inferno artist Simon Brewster's ability to "seamlessly, cohesively" integrate input from agency, director and editor. "Simon's role in the whole project, coupled with a great director, a great editor and a great team overall for that matter, made all the difference in the way the spots came together,” he said. “One of the biggest challenges they helped us address was in giving the golf ball a believable flight, which was important to the overall flavor of both spots.” Having worked with A52 on a number of projects, JWT's project producer Jane Liepshutz commented, " I think Simon is amazing – and the other miracle-workers at A52 were also there 100% of the time for us. I can tell you personally that they always make me look like a hero.”
Digital Producer, Mar. 28, 2003
A52, Flying Tiger Films and Ford Take Phil Michelson's Game to the Florida Everglades
Visual effects and design company A52 today proudly detailed their visual effects and design work for Flying Tiger Films and director Robert Gordon for J. Walter Thompson's new Ford Explorer "Sand Trap" and Ford Expedition "Water Hazard" :30 broadcast spots, which broke during coverage of the Ford Championship at Doral on Mar. 6 and will continue airing in the weeks ahead.
Shoot Magazine, Mar. 28, 2003
Trone Inc. Bubble Wraps Quick-Step
"Bubble Floor" opens on a small, intimate party going on in someone's house. The guests' chatter and an unusual popping noise can be heard as people move about the room. As one of the guests is about to place his glass on a table, the hostess rushes over with a coaster, getting it under the glass just in time. More of the popping noise can be heard as the hostess announces dinner, and a wide shot reveals that the floor is completely covered in bubble wrap. One guest's heel gets caught on the wrap, and a beautiful floor is revealed underneath. "Felt Stickies" also features a floor-obsessed woman. The ad shows a mom sticking felt pads to anything and everything that could possibly come into contact with her beloved floor: children's toys, her husbands shoes, etc. She even attempts to catch up with the family cat. Both :30s end with a voiceover stating, "Stop obsessing. Quick-Step is the laminate floor designed to take the wear and tear of everyday life." The tagline: "Quick-Step. Floors that stand up." EDITORIAL: Rock Paper Scissors, Los Angeles. Adam Pertofsky, editor; Andy Trekki, assistant editor. POST: A52, Los Angeles. Dan Sumpter, online editor.
Videography e-news, Mar. 25, 2003
A52 Finishes Five-Spot Chrysler Campaign, Celine Dion Music Video
A52 contributed visual effects and finishing work for Sweet Pea Productions and director Peter Arnell for Celine Dion's new "I Drove All Night" music video, as well as for BBDO Detroit/Arnell Group's recent multi-spot Chrysler campaign, which also features Celine Dion and was also directed by Peter Arnell. [Link.]
Shoot Magazine, Mar. 21, 2003
Creative Showcase: Lexus "Road Trips," "Office," Winding Road"
POST/VISUAL EFFECTS: A52, Los Angeles. Scott Johnson, online editor; Simon Brewster, visual effects supervisor/lead Inferno artist; Kristin Johnson and Marguerite Cargill, Inferno artists; Ray Giarratana, on-set visual effects supervisor; Darcy Leslie Parsons, executive producer; Scott Boyajan, producer; Rick Hassen, managing director.
Design In Motion, Mar. 20, 2003
A52 Finishes Five-Spot Chrysler Campaign, Celine Dion Music Video
A52 contributed visual effects and finishing work for Sweet Pea Productions and director Peter Arnell for Celine Dion's new "I Drove All Night" music video, as well as for BBDO Detroit/Arnell Group's recent multi-spot Chrysler campaign, which also features Celine Dion and was also directed by Peter Arnell. (Includes QuickTimes)
VFXPro, Mar. 19, 2003
A52 Drives effects for Celine and Chrysler
Visual effects and design company A52 completed visual effects and finishing work for Sweet Pea Productions and director Peter Arnell for Celine Dion's new "I Drove All Night" music video.
Digital Producer, Mar. 17, 2003
A52 Finishes Celine Dion's "I Drove All Night" Music Video for Sweet Pea Productions
Visual effects and design company A52 today proudly detailed their visual effects and finishing work for Sweet Pea Productions and director Peter Arnell for Celine Dion's new "I Drove All Night" music video - as well as for BBDO Detroit/The Arnell Group's recent multi-spot Chrysler campaign, which also features Celine and was also directed by Peter Arnell.
Music Industry News Network, Mar. 17, 2003
A52 Finishes Celine Dion's "I Drove All Night" Music Video For Sweet Pea Productions And New Chrysler Spots For BBDO Detroit, Sweet Pea And The Arnell Group
Visual effects and design company A52 today proudly detailed their visual effects and finishing work for Sweet Pea Productions and director Peter Arnell for Celine Dion’s new "I Drove All Night" music video – as well as for BBDO Detroit/The Arnell Group's recent multi-spot Chrysler campaign, which also features Celine and was also directed by Peter Arnell.
Digital Production (Germany), Jan./Feb., 2003
Audi „Spirit“: Magische Regen-Momente
Bis zu 30 Ebenen mit unterschiedlichen Regenarten waren in dem Werbespot nötig, um das Automobil auf poetische Weise zu präsentieren. MORE
Boards Magazine, Feb. 2003
Spotopsy: Staring his past in the face
Editorial: Angus Wall - Rock Paper Scissors, LA. Special Effects: A52, LA, VFX Supervisor: Simon Brewster.
Boards Magazine, Feb. 2003
Top Spots: Element 79 sees double for Gatorade
In "23 vs. 39" a 39-year-old Michael Jordan goes one-on-one against a 23-year-old version of himself. Beyond the star-power Jordan brings, this spot will have viewers swapping 'how'd they do that?' theories each time it comes on - extending the impact of the spot way beyond the :30 confine. The effects are seamless, however, and never compete with the emotional impact of the narrative. For more, see Spotopsy. VFX: Digital Domain, Venice; A52, LA.
Shoot Magazine, Feb. 14, 2003
Creative Showcase: Gatorade "Unsung Heroes"
The :30 "Unsung Heroes" honors the athletes of basketball, soccer and football who don't get the spotlight, illustrating the theme, "Nobody does it alone." POST/VISUAL EFFECTS: A52, Los Angeles. Scott Johnson, online editor; Simon Brewster, Inferno artist; Darcy Leslie Parsons, executive producer; Ron Cosentino, producer.
Shoot Magazine, Feb. 14, 2003
And The Nominees Are … The spots up for the first-ever VES awards span all disciplines.
"VISITORS" The VES Awards nominations also included Hunter/Gratzner Industries, Los Angeles, for Gatorade Fierce's "Visitors," directed by David Denneen through bicoastal Anonymous Content, for Element 79 Partners, Chicago. (Denneen has since shifted his U.S. representation to Los Angeles-headquartered Form.) Hunter/Gratzner was nominated in the best models and miniatures in a televised program, music video or commercial category. The team from Hunter/Gratzner included model supervisor/company principal Mathew Gratzner; crew chief James Waterhouse; model makers Scott Lukowski, Eric Coon, Matt Burlingame and Greg Boettcher; model production assistant Enrico Altmann; and painter Leigh Jacob. The digital visual effects studios on the job were Animal Logic, Sydney, Australia, and A52, Los Angeles.
CreativeChannel Newsletter, Feb. 7, 2003
Member News From Around the Globe: A52 / Rock Paper Scissors
A52 and Rock Paper Scissors enjoyed a banner year and have started 2003 off with a bang. Current spots airing reflecting their artistry - Arnold Worldwide's VW Chain Reaction (director Mike Mills/The Directors Bureau); Element 79 Partners' 23 vs. 39 - New York's Berlin Cameron/Red Cell The Arquettes (director David Fincher/Anonymous Content); and Wieden+Kennedy's Nike Streaker.
Computer Graphics World, Jan., 2003
PEELING OUT: Hollywood's A52 burns up the road with its latest commercial spot for Nissan
"There's going to be this sleek new black Maxima tearing down a desert road. It's going to be moving so fast that the paint is going to start peeling off, beginning at the front and continuing to the rear, until there's not a speck of paint left on it. Oh, and we're going to shoot the car from all sorts of angles—helicopter, motorcycle, car-mounted cameras. And if there's not enough motion, we'll shake the cameras to get a more aggressive feel." MORE
Film&Video, Jan., 2003
News
Paul Norling and Tiffany Burchard of FilmCore have edited a new compaign for the Lexus Dealers of North America and Team One Advertising based on a theme of pursuing life's goals. The commercials were directed by Phil Joanou of Villains. Online and visual effects were completed at A52.
Shoot Magazine, Jan. 31, 2003
A Reporter's Notebook: Sundance 2003
Family Tree was made possible with help from, among many others, Marni Zimmerman at Panavision, Hollywood, Los Angeles-based Toucan Catering, Los Angeles-based Strato Films and A52, Los Angeles. "My commercial friends were very helpful and really stuck their necks out," Beroud says.
Shoot Magazine, Jan. 31, 2003
"Paralysis" Doesn't Slow Growth In PSA
In conceptualizing the campaign, Laurence Thrush worked closely with Jerry Zucker, founder of Cures Now. Zucker himself is a producer and director, with helming credits that include Ghost, Rat Race and Airplane (which was co-directed by him, Jim Abrahams and David Zucker). The support team at Growth Films consisted of producer Simon Thrush, production manager Corina Dennison and production designer Gary Riffat. "Paralysis" was shot on location in San Jose, Calif., by DP Gary Young. Editor was Ben Longland of Rock Paper Scissors, Los Angeles. Dex Deboree produced for Rock Paper Scissors. Online editor was James Budak of A52, Los Angeles. Colorist was Rajiv Bedi of Company 3, Santa Monica. Eric Ryan of RavensWork, Venice, Calif., served as audio mixer. Sound designer was Michael Anastasie of stimmüng, Santa Monica.
Animation World Network, Jan. 28, 2003
A52 SHOWS NOTHING'S IMPOSSIBLE WITH AN OLYMPUS DIGITAL CAMERA
West Hollywood-based visual effects and design company A52 recently completed CG and visual effects work for the "Digital Experience" campaign for Olympus digital cameras by way of The Martin Agency. The spots feature a young boy who decides to have some fun with his Olympus digital camera at an aquarium. He shoots a close-up picture of a shark with its mouth open, then goes to another tank filled with small fish. He holds his camera up to the tank to show the small fish the image of the shark on the camera's LCD screen, and the fish quickly radiate away from the "shark" in all directions, much to the boy's delight. The voiceover states that, "With an Olympus digital camera, nothing's impossible." To create the scene where the small fish respond to the shark image, A52 created 1,000 CG fish that were ultimately integrated with the live-action footage, which was directed by Anonymous Content's Tom Carty. A52's team, consisting of producer Lisa Beroud, 3D supervisor and animator Denis Gauthier, 3D animators Jeff Willette and Westley Sarokin, graphic artist Shawn Baden and Henry artist/online editor Scott Johnson, used...
Boards Online, Jan. 27, 2003
Screening Room: 23 vs. 39
Visual Effects: A52; Executive Producer: Darcy Leslie Parsons; Producer: Scott Boyajan; Managing Director: Rick Hassen; Visual Effects Supervisor: Simon Brewster; Inferno Artists: Simon Brewster (Lead), Marguerite Cargill (Mattes), Ben Looram (Inferno Assistant).
Shoot Magazine, Jan. 24, 2003
Rep Report
Jared Shapiro, who continues as a sales rep for bicoastal Headquarters covering the Midwest and the East Coast, has additionally taken on spot repping duties in Chicago and on the East Coast for visual effects/design studio A52 and editorial house Rock Paper Scissors, both based in Los Angeles….
Shoot Magazine, Jan. 24, 2003
VES Awards Unveil Spot Nominees
Rounding out the field of visual effects houses earning VES Awards nominations on the strength of spotwork was Hunter/ Gratzner Industries, Los Angeles, for Gatorade Fierce's "Visitors," directed by David Denneen (who at the time was with bicoastal Anonymous Content) for Element 79 Partners, Chicago. (Denneen has since shifted his U.S. representation to Los Angeles-headquartered Form.) The Gatorade Fierce commercial starred New York Yankees shortstop Derek Jeter taking on a group of ferocious gargoyles—models created at Hunter/Gratzner—in a bizarre game of baseball. The gargoyles come to life from their stony perches in a gothic-style stadium, but meet their demise when they come in contact with vicious line drives off the bat of Jeter. The digital visual effects studios on the job were Animal Logic, Sydney, and A52, Los Angeles.
Boards Online, Jan. 23, 2003
People Moves
Jared Shapiro, sales rep for NY-based prodco Headquarters, has expanded his duties to include East Coast and Chicago sales for LA-based design/FX company A52 and editorial house Rock Paper Scissors.
CreativeChannel Newsletter, Jan. 22, 2003
Member News From Around the Globe: A52 / Rock Paper Scissors
Visual effects and design company A52 and editorial facility Rock Paper Scissors, both based in Los Angeles, announced that Jared Shapiro, sales representative for New York-based production company Headquarters, has been appointed to act as their commercial rep in Chicago and on the east coast.
THE SHOOT ONLINE NEWSLETTER, Jan. 21, 2003
Shapiro Branches Out
Jared Shapiro, who continues as a sales rep for bicoastal Headquarters covering the Midwest and the East Coast, has additionally taken on spot repping duties in Chicago and on the East Coast for visual effects/design studio A52 and editorial house Rock Paper Scissors, both based in Los Angeles. [Link.]
AdWeek, Jan. 13, 2003
Creative Coverage: Best Spots of December, Volkswagen "Chain Reaction"
With what could be the longest take in advertising history, this clever spot shows shiny, happy people being considerate to each other-holding doors open, picking up dropped items and putting change in parking meters. When the ad rewinds in stop motion, the viewer sees why everyone is so freakin' gracious. VO: "The new Beetle convertible. One good thing leads to another." Editor: Angus Wall/Rock Paper Scissors. Inferno Artist: Patrick Murphy/A52.
The Animation Flash E-mail Newsletter, Jan. 14, 2003
A52 SHOWS NOTHING'S IMPOSSIBLE WITH AN OLYMPUS DIGITAL CAMERA
West Hollywood-based visual effects and design company A52 recently completed CG and visual effects work for the "Digital Experience" campaign for Olympus digital cameras by way of The Martin Agency. The spots feature a young boy who decides to have some fun with his Olympus digital camera at an aquarium. He shoots a close-up picture of a shark with its mouth open, then goes to another tank filled with small fish. He holds his camera up to the tank to show the small fish the image of the shark on the camera's LCD screen, and the fish quickly radiate away from the "shark" in all directions, much to the boy's delight. The voiceover states that, "With an Olympus digital camera, nothing's impossible." To create the scene where the small fish respond to the shark image, A52 created 1,000 CG... MORE
VFXPro e-news, Jan. 13, 2003
HQ's Shapiro to Rep A52, Rock Paper Scissors
Jared Shapiro, sales representative for New York-based production company Headquarters, has been appointed to act as commercial representative for A52 and Rock Paper Scissors in Chicago and on the East Coast, effective immediately. [Link.]
Design In Motion, Jan. 10, 2003
HQ's Shapiro to Rep A52, Rock Paper Scissors
Jared Shapiro, sales representative for New York-based production company Headquarters, has been appointed to act as commercial representative for A52 and Rock Paper Scissors in Chicago and on the East Coast, effective immediately.
Music Industry News Network, Jan. 10, 2003
Jared Shapiro Of Headquarters NY To Represent A52 and Rock Paper Scissors in Chicago and on East Coast
Visual effects and design company A52 and editorial facility Rock Paper Scissors, both based on Los Angeles, today jointly announced that Jared Shapiro, sales representative for New York-based production company Headquarters, has been appointed to act as their commercial representative in Chicago and on the east coast, effective immediately. The announcement was made by A52's managing director Rick Hassen and Rock Paper Scissors' managing director Linda Carlson.
VFXPro, Jan. 10, 2003
HQ's Shapiro to Rep A52, Rock Paper Scissors
Jared Shapiro, sales representative for New York-based production company Headquarters, has been appointed to act as commercial representative for A52 and Rock Paper Scissors in Chicago and on the East Coast, effective immediately.
Computer Graphics World News, Jan. 9, 2003
Nothing Fishy About These Spots
Visual effects and design company A52 announced details of their CGI and visual effects work for Anonymous Content and director Tom Carty for The Martin Agency's broadcast campaign for Olympus digital cameras. The 30 and 15-second "Digital Experience" spots which have been airing since November feature surprising CGI work from A52's team. [Link.]
FastChannel eCreativeSearch Newsletter, Jan. 7, 2003
Member News From Around the Globe: A52
A52 announced details of their CGI and visual effects work for Anonymous Content and director Tom Carty for The Martin Agency's broadcast campaign for Olympus digital cameras. The :30 and :15 Digital Experience spots feature a young boy who decides to have some fun with his camera at an aquarium. A52's project team was led by managing director Rick Hassen and executive producer Darcy Leslie-Parsons and featured the talents of producer Lisa Beroud, 3D supervisor and animator Denis Gauthier, 3D animators Jeff Willette and Westley Sarokin, graphic artist Shawn Baden and Henry artist/online editor Scott Johnson.
VFX Pro e-news, Jan. 3, 2003
Second VW Beetle Convertible Spot Breaks, with Effects from A52
Visual effects and design company A52 provided visual effects work for The Directors Bureau and director Mike Mills for Arnold Worldwide's 2003 Beetle Convertible ad campaign for Volkswagen of America. The second spot in the campaign is the :60 television spot "Bubble," which broke in December. (Includes QuickTimes) [Link.]
VFX Pro, Jan. 3, 2003
Second VW Beetle Convertible Spot Breaks, with Effects from A52
Visual effects and design company A52 provided visual effects work for The Directors Bureau and director Mike Mills for Arnold Worldwide's 2003 Beetle Convertible ad campaign for Volkswagen of America. The second spot in the campaign is the :60 television spot "Bubble," which broke in December. (Includes QuickTimes)
Videography e-news, Jan. 2, 2003
Second VW Beetle Convertible Spot Breaks, with Effects from A52
Visual effects and design company A52 provided visual effects work for The Directors Bureau and director Mike Mills for Arnold Worldwide's 2003 Beetle Convertible ad campaign for Volkswagen of America. The second spot in the campaign is the :60 television spot "Bubble," which broke in December. [Link.]
Out to Launch, Jan. 2, 2003
2003 Beetle Convertible Campaign
Visual effects and design company A52 recently announced details of their work for The Directors Bureau and director Mike Mills for Arnold Worldwide's new 2003 Beetle Convertible ad campaign for Volkswagen of America, Inc. The first of two spots in the campaign is a :60 entitled "Bubble Teaser" which debuted theatrically on Fri., Oct. 22, but was reworked and relaunched the week before Christmas. Another spot, "Bubble," just broke, and "Smile" will debut in Jan. 2003. Each commercial closes by announcing that The New Beetle Convertible is Coming Soon.
Design In Motion, Jan. 2, 2003
Second VW Beetle Convertible Spot Breaks, with Effects from A52
Visual effects and design company A52 provided visual effects work for The Directors Bureau and director Mike Mills for Arnold Worldwide's 2003 Beetle Convertible ad campaign for Volkswagen of America. The second spot in the campaign is the :60 television spot "Bubble," which broke in December. (Includes QuickTimes)
Film&Video Magazine, Dec. 2002
VW Drives 2K Spot Work; Directors Bureau, A52 Create Theatrical Ad
Interest in high definition and 2k work in the commercial arena has been limited, but the teams at The Directors Bureau and visual effects and design company A52 recently had the opportunity to examine some new high-resolution production techniques for Arnold Worldwide's new 2003, Beetle Convertible ad campaign for Volkswagen of America. The first of two spots in the campaign is a :60 entitled "Bubble — Teaser," which is currently airing as a theatrical release and on television. "Bubble," the follow up spot, is scheduled to debut this month. Both ads were produced in 2k.
The Source Maythenyi, Dec. 2002
Most Requested Commercial for December: VW "Bubble"
Volkswagen's new Beetle convertible spot "Bubble", which originally broke in movie theaters, is our most often asked this month. The spot from Arnold Worldwide/Boston was directed by Mike Mills at Director's Bureau. It shows a young man and his daily routine over and over again, caught at the end by the sight of the Beetle convertible. Cut to the ELO tune "Mr. Blue Sky" by Angus Wall at Rock Paper Scissors, it almost has a Hard Day's Night feel to it. Additional credits to: DP: Joaquin Baca-Asay. VFX: Patrick Murphy @ A52.
Videography, Dec. 2002
A52 Exposes Nissan Maxima
The West Hollywood-based visual effects and design company A52 recently completed visual effects and CGI work for RSA USA and director Adrian Moat's Paint Remover spot for TBWA\Chiat\Day's Nissan Maxima.
Videography e-news, Dec. 18, 2002
A52 Provides Olympus 'Digital Experience'
Effects and design company A52 provided CGI and visual effects work for Anonymous Content and director Tom Carty for The Martin Agency's broadcast campaign for Olympus digital cameras. The :30 and :15 "Digital Experience" spots debuted in November. [Link.]
AdWeek, Dec. 16, 2002
Creative Coverage: Best Spots of November, Volkswagen "Bubble Teaser"
Waking at 7:30 a.m., Bill Briggs begins another monotonous day. He dresses, goes to work, drinks coffee, shuffles papers, returns home. Split-screen views of his rituals scream boredom. Not yet 30 years old, the guy is already a rat-race zombie. Until, that is, he looks out a window and sees the holy grail. Graphic: "The new Beetle convertible … Coming soon." Got to love ELO's "Mr. Blue Sky." Editor: Angus Wall/Rock Paper Scissors. Special Effects: A52.
Design In Motion, Dec. 16, 2002
A52 Provides Olympus 'Digital Experience'
Effects and design company A52 provided CGI and visual effects work for Anonymous Content and director Tom Carty for The Martin Agency's broadcast campaign for Olympus digital cameras. The :30 and :15 "Digital Experience" spots debuted in November. (Includes QuickTime)
Computer Graphics World, Dec. 12, 2002
Nothing Fishy About These Spots
Visual effects and design company A52 announced details of their CGI and visual effects work for Anonymous Content and director Tom Carty for The Martin Agency's broadcast campaign for Olympus digital cameras. The 30 and 15-second "Digital Experience" spots which have been airing since November feature surprising CGI work from A52's team.
InsideCG.com, Dec. 11, 2002
Visual effects and design company A52 today announced details of their CGI and visual effects work for the broadcast campaign for Olympus digital cameras
To create the scene where the small fish respond according to the creative team's conception, A52's CGI team created 1,000 CG fish that were ultimately integrated with Carty's live-action footage, which was captured with the assistance of director of photography Eric Tremel. A52's team, consisting of producer Lisa Beroud, 3D supervisor and animator Denis Gauthier, 3D animators Jeff Willette and Westley Sarokin, graphic artist Shawn Baden and Henry artist/online editor Scott Johnson, used a photograph of an anchovy to map its texture onto an animated fish created in Houdini. That fish was then reproduced, and a school of fish was formed.
Boards Magazine, Nov. 2002
Breakers and sentries and bears, oh my!
Andrew Douglas convinced J. Walter Thompson, Detroit to okay a shoot in the nether reaches of the Arctic Circle for "Ice Breaker", a Ford F350 spot, this past June.
Boards Magazine, Nov. 2002
Post-Production
A round-table discussion on the current climate, with Ethel Rubinstein, Minouche Kool, Dave Koza, Linda Carlson and Rick Hassen.
The Source Maythenyi, Nov. 2002
Most Requested Commercial for November: Mitsubishi "Journey"
Mitsubishi's spot called "For the Journey" garnered the most attention this month. Directed by Erick Ifergan of RSA/USA for Deutsch/LA, the spot follows an African American man through life's journey all in the car, which includes marriage, parenthood, a horse costume and a mariachi band. The spot also introduces "Breathe," a moody track from French techno trio Télépopmusik. Other credits to: DP: Toby Gweyn Irwin; Editor: Adam Pertofsky @ Rock Paper Scissors; Flame Artist: Mark Alan Loso @ A52.
Shoot Magazine, Nov. 29, 2002
Special Report: VFX
Rick Hassen, managing director at A52, Los Angeles, calls the business cycles less predictable. "It used to be seasonal," he says. "October and November were fairly busy last year, but this November it's getting a really slow start." Darcy Leslie Parsons, executive producer at A52, says that clients are recycling older commercials, sometimes with a bit of logo or imagery upgrading. "There is a cautiousness, in terms of making long-term commitments," Palestrini reports. "Everyone is waiting to see where the economy is going. It's sort of like jumping off a diving board and not knowing if the pool is going to be there." MORE
Shoot Magazine, Nov. 29, 2002
Creative Showcase: POP Sound Is Curious For Vanilla Coke
POST/VISUAL EFFECTS: A52, Los Angeles. Scott Johnson, online editor/Henry artist; Simon Brewster, creative director; Scott Boyajan, producer.
The AWN Spotlight, Nov. 28, 2002
Commercials: A52 Exposes Nissan Maxima
FastChannel eCreativeSearch Newsletter, Nov. 27, 2002
Member News From Around the Globe: A52 / Rock Paper Scissors
A52 announced details of their visual effects work for The Directors Bureau and director Mike Wills for Arnold Worldwide's new 2003 Beetle Convertible ad campaign for Volkswagen of America. The first of two spots in the campaign is a :60 entitled Bubble Teaser which debuted theatrically in October. A52 also provided effects work for the campaign's "Bubble" and "Chain Reaction" broadcast spots (the former will break later this month, the latter January 2003). A52's project team was led by Rick Hassen, executive producer Darcy Leslie Parson, producer Scott Boyajan, and visual effects and Inferno artist Patrick Murphy. The group from editorial company Rock Paper Scissors was led by Angus Wall and included executive producer Linda Carlson and producer Dave Sellars.
Animation World Network, Nov. 25, 2002
A52 Exposes Nissan Maxima
Visual effects and design company A52 recently completed visual effects and CGI work for RSA USA and director Adrian Moat for Nissan Maxima's "Paint Remover," which illustrates the speed of the Maxima automobile in a surprising way.
SIGGRAPH News, Nov. 19, 2002
The Director's Bureau with A52 Visual Effects Delivers New VW Commercial
Visual effects and design company A52 today announced details of their visual effects work for The Directors Bureau and director Mike Mills for Arnold Worldwide's new 2003 Beetle Convertible ad campaign for Volkswagen of America, Inc.
Digital Producer, Nov. 19, 2002
The Director's Bureau with A52 Visual Effects Delivers New VW Commercial
Visual effects and design company A52 today announced details of their visual effects work for The Directors Bureau and director Mike Mills for Arnold Worldwide's new 2003 Beetle Convertible ad campaign for Volkswagen of America, Inc. more...
The Shoot Online Newsletter, Nov. 15, 2002
NOW PLAYING AT SHOOTONLINE: View The Top Spot Of The Week
This week’s Top Spot glimpses a day in the life of Bill Briggs: office drone. A well-meaning youngster idling on the highway of American business
life, Bill finds solace in a new Volkswagen model courtesy of Arnold Worldwide. [Link.]
Shoot Magazine, Nov. 15, 2002
TOP SPOT OF THE WEEK CREDITS: Dir. Mills, Arnold Worldwide: In Their Own "Bubble"
EDITORIAL: Rock Paper Scissors, Los Angeles. Angus Wall, editor; Dave Anderson, assistant editor; Linda Carlson, executive producer; Dave Sellars, producer. POST/VISUAL EFFECTS: A52, Los Angeles. Patrick Murphy, visual effects supervisor/Inferno artist; Ben Looram, assistant Inferno artist/ online editor; Darcy Parsons and Rick Hassen, executive producers; Scott Boyajan, producer.
Design In Motion, Nov. 15, 2002
VW Teases Convertible Beetle with Directors Bureau, A52
Visual effects and design company A52 provided visual effects work for The Directors Bureau and director Mike Mills for Arnold Worldwide's 2003 Beetle Convertible ad campaign for Volkswagen of America. The first of two spots in the campaign is a :60 entitled "Bubble Teaser," which debuted theatrically on October 22. (Includes QuickTime)
Out to Launch, Nov. 14, 2002
Nissan Maxima "Paint Remover"
Visual effects and design company A52 this week announced their visual effects and CGI work for TBWA\Chiat\Day's Nissan Maxima "Paint Remover" spot which is currently airing nationwide. In the spot, a new Nissan Maxima races through the desert so fast that its paint completely peels away. The spot is expected to run through the year’s end.
FastChannel eCreativeSearch Newsletter, Nov. 12, 2002
Member News From Around the Globe: A52/RSA USA/Rock Paper Scissors
A52 lent their visual effects and CGI hand to RSA USA director Adrian Moat for TBWA Chiat Day's Nissan Maxima Paint Remover spot which is currently airing nationwide. The commercial focuses on a Nissan Maxima as it races through the desert so quickly that its paint completely peels away. Production was overseen by RSA USA managing director Jules Daly, VP/executive producer Marjie Abrahams, and executive producer Fran McGivern. The A52 team was led by executive producer Darcy Leslie Parsons and managing director Rick Hassen. The project team consisted of Simon Brewster, on-set visual effects supervisors Michael Gibson and Westley Sarokin, 3D supervisor/2D animator Denis Gauthier, 3D animators Jeff Willette and Westley Sarokin, Inferno artist Marguerite Cargill and Henry artist/online editor Scott Johnson. Editor Angus Wall/Rock Paper Scissors provided his editorial skills and was joined by executive producer Linda Carlson and producer Romi Laine.
Design In Motion, Nov. 4, 2002
A52, Chiat/Day, RSA Collaborate on 'Paint Remover'
A52 contributed visual effects and CGI work for RSA USA and director Adrian Moat for TBWA/Chiat/Day's :30 Nissan Maxima "Paint Remover" spot, which is currently airing nationwide. In the spot, a new Nissan Maxima races through the desert so fast that its paint completely peels away, thanks to effects from A52. (Includes QuickTime)
Post Magazine, Nov. 4, 2002
A52 STRIPS FOR NISSAN
For the “Paint Remover” spot for Nissan Maxima through TBWA/Chiat/Day, visual effects company A52 created the effects that show the black paint on the car peeling away from the speeding Maxima.
InsideCG.com, Nov. 4, 2002
A52’S Visual Effects and CGI Artistry help TBWA/CHIAT/DAY, RSA USA and Adrian Moat dramatically expose Nissan Maxima
Visual effects and design company A52 today proudly detailed their visual effects and CGI work for RSA USA and director Adrian Moat for TBWAChiatDay’s Nissan Maxima “Paint Remover” spot which is currently airing nationwide. The spot conceived by TBWAChiatDay’s project art director Jason Stinsmuehlen and copywriters Eric Grunbaum and Neil Hughlett and awarded to director Adrian Moat was fairly easy to describe during preproduction: A new Nissan Maxima races through the desert so fast that its paint completely peels away.
Deathfall 3D, Nov. 4, 2002
A52 Bares All for Nissan Maxima
A52's Visual Effects And CGI Artistry Help Expose Nissan Maxima.
Highend3D, Nov. 4, 2002
A52 Bares All for Nissan Maxima
The spot conceived by TBWA\Chiat\Day’s project art director Jason Stinsmuehlen and copywriters Eric Grunbaum and Neil Hughlett and awarded to director Adrian Moat was fairly easy to describe during preproduction: A new Nissan Maxima races through the desert so fast that its paint completely peels away. The storyboards marking the point of entry for A52’s award-winning team indicated paint coming off as flecks, but as Jason Stinsmuehlen pointed out, how that would look was unclear.
CGI Focus, Nov. 4, 2002
A52's Visual Effects and CGI Artistry on the latest Nissan Maxima spot
The storyboards marking the point of entry for A52's award-winning team indicated paint coming off as flecks, but as Jason Stinsmuehlen pointed out, how that would look was unclear. A52's creative director and project visual effects supervisor and Inferno artist Simon Brewster collaborated with his in- house CGI team to create and deliver a "3D test" to illustrate their ideas of how the paint should come off. Using a wireframe model provided by Nissan, A52's CGI team of Denis Gauthier, Westley Sarokin and Jeff Willette used Side Effects Software's Houdini plus 3D Equalizer, Deep Paint 3D and Renderman to fully execute their ideas....
Digital Producer, Nov. 4, 2002
A52's Visual Effects and CGI Artistry Help Expose Nissan's Maxima
Visual effects and design company A52 today proudly detailed their visual effects and CGI work for RSA USA and director Adrian Moat for TBWA\Chiat\Day's Nissan Maxima "Paint Remover" spot which is currently airing nationwide....
Videography, Oct, 2002
A52 Journeys to Arctic Circle for Ford 'Ice Breaker'
Hollywood-based visual effects and design company A52 has released details of its visual effects and design work for Anonymous Content and Director Andrew Douglas for J. Walter Thompson Detroit's dramatic new :30 Ford Super Duty Power Stroke spot entitled Ice Breaker, which debuted on television over the summer....
Shoot Magazine, Oct. 25, 2002
TOP SPOT OF THE WEEK: Dir. Ifergan Takes Mitsubishi's "Journey"
The commercial was shot by DP Toby Irwin over three days in Toronto, both on location and at Handmade Studios, Toronto. The exterior car shots and timelapse footage were lensed at three or four different locations at night, while the action taking place inside the vehicle was shot inside the studio. Ifergan said the controlled environment allowed for better performances. As well, it meant the rainy weather was of little consequence. Two cameras attached to the hood of the car rolled simultaneously on the actors. Shadows and reflections on the automobile, which give the impression that the vehicle is moving, were then created in postproduction by A52, Los Angeles. Adam Pertofsky of Rock Paper Scissors, Los Angeles, cut the spot. Picardi said the edit was critical to the story they were trying to tell, both in terms of content and time frame. Initially, there were concerns that, because of the scope of the storyline, the ad would only work as a :60. "That's the main reason we picked Adam. We knew we had great photography, a great song, and a great effects place, but we needed someone to tell a story [in the allotted time]. Adam was the perfect fit," said Picardi. "He had a lot of options—we made sure we shot more than needed to give him options—but from the first time we saw his thirty-second edit, we knew he was the right choice for this spot."
Shoot Magazine, Oct. 25, 2002
TOP SPOT OF THE WEEK CREDITS: Dir. Ifergan Takes Mitsubishi's "Journey"
EDITORIAL: Rock Paper Scissors, Los Angeles. Adam Pertofsky, editor; Andy Trecki, assistant editor. POST/VISUAL EFFECTS: A52, Los Angeles. Mark Loso, Flame artist; Stan Kellam and Scott Johnson, online editors; Rick Hassen, managing director; Darcy Parsons, executive producer; Ron Cosentino, producer.
Computer Graphics World News, Oct. 17, 2002
A52 Delivers D'Arcy Detroit's Breaking Pontiac Campaign
Visual effects and design company A52 detailed their visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy Detroit's new multi-spot Pontiac campaign, which broke its first spot, "Mantra," on September 19. Scored with James Brown's classic "Get Up," each of the campaign's spots uses footage of Pontiac's existing and future vehicles which Plansker's team captured on locations across the southwestern United States. Each spot also incorporates dynamic graphics courtesy of Champion Graphics' Geoff McFetridge and rapid-fire editing courtesy of Spine's Noah Herzog. [Link.]
FastChannel eCreativeSearch Newsletter, Oct. 14, 2002
Member News From Around the Globe: A52/Anonymous Content
A52 announced their visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy/Detroit's new multi-spot Pontiac campaign. Breaking with the first spot, Mantra, and scored with the James Brown classic, "Get Up," each of the campaign's spots uses gorgeous footage of Pontiac's existing and future vehicles which Plansker and his team captured on locations across the southwestern United States. Other campaign spots include Note, Cure, and Punch all in varying lengths. Production was overseen by Anonymous executive producer Andy Traines and included producer Rob McKinney and production designer Andrea Campos. Rounding out the crew for A52 were executive producer Darcy Leslie Parsons, managing director Rick Hassen, producer Leighton Greer, lead Henry artist and online editor Dan Sumpter, Henry artist Stan Kellam and Inferno artist Tim Bird.
CNET, Oct. 14, 2002
Mitsubishi Motors Introduces Launch Advertising Effort for Outlander SUV Vehicle
Mitsubishi Motor Sales of America, Inc. today released the latest evolution of its popular "Wake up and Drive" advertising campaign for the launch of the 2003 Mitsubishi Outlander entry-level SUV. Created by Deutsch LA, the :60 and :30 commercials are set to debut on October 14th in the U.S. and on November 18th in Canada. Mitsubishi Campaign Creative Credits: Editorial Company: Rock Paper Scissors, Los Angeles, CA. Editor: Adam Pertofsky, Asst. Editor: Andy Trecki. Visual Effects: A52, Los Angeles, CA. Flame Artrist: Mark Loso, Producer: Ron Consentino.
AdWeek, Oct. 14, 2002
Creative Coverage: Best Spots of September, PS2 "Grandma"
At a nursing home, a daughter visits her mother. "How you doing today, Mom?" she asks. "The silver dragon. I was going to defeat the lord of the underworld, but then the silver dragon stole my gold key," says the old woman. The daughter is perplexed, but not the grandson. "Grandma," he says, "next time use the magic stones." A smile of recognition crosses granny's face. Tagline: "Live in your world. Play in ours." Editor: Ben Longland/Rock Paper Scissors. Inferno Artist: Mark Alan Loso/A52.
Shoot Magazine, Oct. 11, 2002
Special Report: Cause and Effects
Some argue that such testing can help later if they get the job. That was the case with "Slugs," an adidas spot directed by Frank Budgen of Gorgeous Enterprises, London, and bicoastal Anonymous Content, with effects work by A52. The commercial, out of TBWA/180, San Francisco, features two adidas A3 sneakers apparently running on their own (it is later revealed that two CGI-created slugs are manipulating the footwear). "We went out and built a [CGI] model of the shoe," A52's managing director Rick Hassen recalls. "We did that on our own; the client didn't request it." Having the work done in advance saved time later on when scheduling got tight on the 10-day job.
Shoot Magazine, Oct. 11, 2002
The Best Work You May Never See: "Flying"
This California Utilities spot opens with views of what appear to be birds flying in a "V" formation, high overhead above scenic landscapes. As we see this flock in flight, a voiceover offers a seemingly incongruous message. Post was handled by A52, Los Angeles, with Mark Alan Loso serving as Flame artist, Darcy Leslie Parsons as exec producer, and April Killingsworth as producer.
VFXPro, Oct. 10, 2002
A52 'Gets Up' With Pontiac
A52 created visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy Detroit's new multi-spot Pontiac campaign.
MediaPost's Out to Launch, Oct. 10, 2002
A52 serves up effects for Pontiac
A52 this week detailed their visual effects work for Anonymous Content and Director Jeffrey Plansker in D'Arcy Detroit's new multi-spot Pontiac campaign. The first spot of the campaign - "Mantra" - broke on Sep. 19. Set to James Brown's classic song "Get Up." Each of the campaign's spots uses gorgeous footage of Pontiac's existing and future vehicles which Plansker's team captured on locations across the southwestern United States. Each spot also incorporates dynamic graphics courtesy of Champion Graphics' Geoff McFetridge and rapid-fire editing courtesy of Spine's Noah Herzog. Other campaign spots include "Note," "Cure," and "Stimulated."
VFXPro eNews, Oct. 9, 2002
A52 Provides Visual Effects for 2003 Pontiac Campaign
Visual effects and design company A52 was selected to provide visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy Detroit's new multi-spot Pontiac campaign, which broke its first spot, "Mantra," on September 19. [Link.]
Design In Motion, Oct. 8, 2002
A52 Provides Visual Effects for 2003 Pontiac Campaign
Visual effects and design company A52 was selected to provide visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy Detroit's new multi-spot Pontiac campaign, which broke its first spot, "Mantra," on September 19.
Computer Graphics World, Oct. 7, 2002
A52 Delivers D'Arcy Detroit's Breaking Pontiac Campaign
Visual effects and design company A52 detailed their visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy Detroit's new multi-spot Pontiac campaign, which broke its first spot, "Mantra," on September 19.
InsideCG, Oct. 7, 2002
A52 Gets Into It to Deliver D'Arcy Detroit's Breaking Pontiac Campaign
Visual effects and design company A52 today proudly detailed their visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy Detroit's new multi-spot Pontiac campaign, which broke its first spot ("Mantra," a :60, :30 and :25/:5) on Sep. 19.
Digital Producer, Oct. 4, 2002
A52 Gets Into It to Deliver D'Arcy Detroit's Breaking Pontiac Campaign
Visual effects and design company A52 today proudly detailed their visual effects work for Anonymous Content and director Jeffrey Plansker for D'Arcy Detroit's new multi-spot Pontiac campaign, which broke its first spot ("Mantra," a :60, :30 and :25/:5) on Sep. 19.
FastChannel eCreativeSearch Newsletter, Oct. 1, 2002
Member News From Around the Globe: A52/Rock Paper Scissors/Elias Associates
After their piece of the Emmy for Outstanding Commercial, A52 recently provided assistance on two high-profile spots for Levi's Dockers from FCB/San Francisco. For Steve's Bachelor Party, A52 provided sky replacement, composited the plane landing, cleaned up the pants themselves, and enhanced droplets for spills, etc. The team also froze the end frame and created the end graphic sequence. VFX for Getting Dressed involved compositing multiple versions of the hero getting ready all at once, as well as providing clean-up and creating the mirror edge for select shots. Rounding out the team were Rock Paper Scissors editorial and the musical talents of Elias Associates.
Boards, Sep., 2002
The honor roll
The following companies were nominated by agency voters in this year's Animation and FX Survey and are prime suspects to move into the top ten in 2003: A52 (LA).
Core 77 Studio Bullitts, Sep., 2002
Visual effects and design company A52
Visual effects and design company A52 announced details of their visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson Detroit's dramatic new Ford Super Duty Power Stroke :30 spot entitled "Ice Breaker," which debuted on Jul. 26. "The captain of our Russian picture ship, who's been in command of this ship since it was built in 1980, took us two days north of Norway," Boyajan explained. "The crew included a film crew and a chef from Oslo, a helicopter pilot from London and our American contingent. We also had ice specialists onboard who made sure the ice was thick enough to support the film crew and trucks--and we even had guys with rifles protecting us in case the polar bears got too close... which only happened once. Luckily, a flare was enough to scare off our visitor." A52's team used Inferno to create and visually enhance the pathway through the ice in the ship's wake, to create the ship's movement and then to composite together the scene where the truck is lowered onto the ice from several plates.
Digital Production (Germany), Sept. 2002
Production Spotlight: Jagger & Kravits drehen selbst
In dem Musikvideo "God Gave Me Everything" drehten sich Mick Jagger und Lenny Kravitz selbst. Aber die Postproduction hatte viel Arbeit, die Spuren des Eigendrehs zu beseitigen. Die Postproduktion und das visuelle Design fuhrte das Posthaus A52 durch. Die Firma, gegrundet 1997 in West Hollywood, ist durch ihre Projekte fur Levi's, Jeep und BMW bekkannt sowie fur Musikvideos, beilspielsweise fur The Wallflowers, Macy Gray oder oben Mick Jagger.
Shoot Magazine, Sep. 27, 2002
The Best Work You May Never See: "Photographs"
This spot is unsettling from the outset. We see the reflection of a man in the glass that covers a couple of framed photographs. He picks up the framed photos and places them face down on the table. Breezy Asher edited the PSA via Rock Paper Scissors, Los Angeles. Corina Dennison produced for Rock Paper Scissors. Online editor was Ben Looram of A52, Los Angeles.
Shoot Magazine, Sep. 20, 2002
TOP SPOT OF THE WEEK: MJZ And Ariola Interpret Sony's "Signs"
According to Patrick Murphy, visual effects supervisor at A52, Los Angeles, "Signs" was very challenging in both time and task. In two weeks, the A52 team had to replace a head on a little girl, place crowds, move dogs and trucks, put up billboards, remove others and make a falling gargoyle. "The gargoyle was probably only twenty-five percent of the work," he said. "Nearly everything in that spot has been worked on. Starting from where the dog attacks, that's comprised of two different plates because they couldn't get the dog to do his action at the same time as the actor. Every shot where you see the man walking or running, extra foreground people were placed in afterward because when Dante shoots, he wants to see everything so there would be nobody in front of the camera. There was a lot of signage in most shots that we had to take out. The "Coming Soon" poster was built in the Inferno. The ticker tape readout that says "Rates Drop" was done in CG. The main crash at the end was shot on set but there wasn't enough dust, so we did a reshoot using the same camera angles and dropped everything we could find—blocks and bricks—and composited it in the Inferno. Then there was the little girl. She freaked out on the set because the actor was running at her and picking her up. Halfway through she said she wasn't doing it anymore. So we had a stand-in and they asked me to cut the head off the original girl and stick it over the stand-in girl and make it look real." The result of all the efforts is a commercial that makes it all look easy with an effect even greater than the creators intended. "When we started to show it a little bit, people were seeing signs that weren't even there," said Monn who added that even the crew was not safe. "And since we were working on it so hard, people would come back the next day and start seeing signs out in the street. It was starting to affect me as well. I was seeing some weird signs that led to something else that I never would have seen before."
Shoot Magazine, Sep. 20, 2002
TOP SPOT OF THE WEEK CREDITS: MJZ And Ariola Interpret Sony's "Signs"
EDITORIAL: Rock Paper Scissors, Los Angeles. Angus Wall, editor; Dave Anderson, assistant editor; Linda Carlson, executive producer; Corina Dennison, producer. POST/VISUAL EFFECTS: A52, Los Angeles. Patrick Murphy, on-set visual effects supervisor/lead artist; Marguerite Cargill and Tim Bird, Inferno artists; Jeff Willette, Westley Sarokin, Denis Gauthier and Craig Halperin, CGI artists; Rick Hassen, managing director; Darcy Parsons, executive producer; Leighton Greer, producer.
Shoot Magazine, Sep. 20, 2002
Emmy Win For W+K, RSA USA
Nike's "Move"—directed by Jake Scott of bicoastal RSA USA for Wieden+Kennedy (W+K), Portland, Ore.—has won the sixth annual primetime Emmy Award for best commercial. The honor was announced, and Emmy statuettes were presented to W+K and RSA, during the Academy of Television Arts & Sciences (ATAS) Creative Arts Awards ceremony held this past weekend (9/14) at the Shrine Auditorium, Los Angeles. "Move" is a poetic piece of filmmaking that captures athletes—professional and amateur—engaging in different sports. Each athlete in action seamlessly glides into the next, creating a natural flow of joy and competitive spirit. The commercial was shot by DP Max Malkin, and edited by Adam Pertofsky of Rock Paper Scissors, Los Angeles. "Move" moved to a soft, piano-oriented soundtrack composed by Jonathan Elias of bicoastal Elias Arts. Elias and David Gold served as creative directors for Elias Arts. Among the other contributors were: Inferno artist/online editor Patrick Murphy and Henry artist Dan Sumpter of Los Angeles-based A52.
FastChannel eCreativeSearch, Sep. 16, 2002
And the Emmy Goes To…
This is our salute to the Creative Arts Awards portion of the Emmys, specifically the "Outstanding Commercial" category. Nike "Move" Director: Jake Scott Production Company: RSA USA Editing Company: Rock Paper Scissors Editor: Adam Pertofsky Music Company: Elias Associates Composer: Jonathan Elias Visual Effects: A52 Agency: Weiden+Kennedy We congratulate all the hard work reflected in these spots and tip our hats to RSA USA/Weiden+Kennedy's Emmy win for Nike. Kudos all!
Post Magazine, Sep. 23, 2002
ENDLESS NOISE BUILDS TENSION FOR NIKE
Ask most athletes when they are most nervous and they’ll answer the moment right before the game starts. Wieden + Kennedy hired director Lance Accord of production company Park Pictures, editor Adam Pertofsky of Rock Paper Scissors and music and sound design company Endless Noise (www.endlessnoise.com) to visualize this theory in “Before,” for Nike. Visual effects company A52 finished the spot.
Autodesk, Sep. 18, 2002
2002 iDesign Awards Digital Media Winners
We are pleased to present the Round 1 winners of the 2002 iDesign Awards. These winners were selected based on their excellence in meeting the awards criteria and have advanced to the worldwide round of judging. A52, United States, Project: Gatorade “Higher” commercial, Products Used: inferno®.
FastChannel eCreativeSearch Newsletter, Sep. 17, 2002
Member News From Around the Globe: Park Pictures/Rock Paper Scissors/A52 + Sway Digital Studio/A52
The new Nike :30 and :60 spots from Wieden+Kennedy feature an amazing variety of top pro athletes and amateurs preparing for their biggest moments. Directed and photographed by Lance Acord/Park Pictures, "Before" was conceived by W+K creative directors Hal Curtis and Carlos Bayala. The beautiful spots feature the editorial talents of Adam Pertofsky of Rock Paper Scissors and the seamless visual effects work of LA's A52. Sway Digital Studio has completed working on Flying, an energy conservation spot for California Utilities via Grey Worldwide. The :30, directed by Sway partners Michael Adamo & Mark Glaser, features computer generated clothing flying through a scenic black & white, Ansel Adams inspired California landscape. The spot marks Sway's first collaboration with Grey and Adamo & Glaser's debut as a directorial team. The rest of the Sway lineup included digital artists Wayne England, Robert Glazer, John Karner, Kent Lidke, Daisuke and roto artist, Daisuke Goto. Post production was handled by the fabulous group over at A52 and featured the talents of flame artist Mark Alan Loso, executive producer Darcy Leslie Parsons, and producer April Killingworth.
The Creativity E-Mail, Sep. 16, 2002
Nike "Move" wins commercial Emmy
Saturday night in Los Angeles, The Academy of Television Arts & Sciences passed out its annual Prime-Time Creative Arts Awards. The Nike anthem "Move," directed for Wieden + Kennedy/Portland by RSA's Jack Scott, took home the Emmy in the commercial category, edging out spots for Computer Associates, Visa, Disney, Fox Sports and Budweiser. The spot, which aired during the Olympics, features footage of athletes of all kinds, somberly edited to create one continuous movement.
Ads.com, Sep. 11, 2002
Ford Icebreaker
This authentic Russian icebreaker was built in 1980 and helmed by its actual captain. Riflemen warded off hungry polar bears and ice specialists kept the whole production afloat! Effects by award-winning visual effects company A52.
Shoot Magazine, Sep. 6, 2002
Spotlight: POP Sound Gets "Wind" Of Audi, M&S
EDITORIAL: Rock Paper Scissors, Los Angeles. Angus Wall, editor, "Spirit" and "Wind"; Ben Longland, editor, "Guggenheim"; Lawrence Thrush, assistant editor; Linda Carlson, executive producer; Corina Dennison, producer. POST/VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, visual effects supervisor/creative director/Inferno artist/colorist, "Spirit"; Scott Johnson, online editor/Henry artist; Michael Gibson, on-set visual effects supervisor; Mark Alan Loso, Flame artist; Jeff Willette and Denis Gauthier, 3-D animators; Darcy Parsons and Rick Hassen, executive producers; Scott Boyajan, producer.
Shoot Magazine, Sep. 6, 2002
Director Nick Piper Lands In Backyard
VENICE, Calif. - Director Nick Piper—formerly of Crossroads Films, bicoastal and Chicago—has joined Backyard Productions, the Venice-headquartered production house, which also maintains an office in Chicago. The move comes as Piper has begun to make strides—most notably via a spec spot for LifeSavers—to diversify beyond his visual effects reputation into more people- and dialogue-based storytelling. At Novocom, Piper also broke into music videos as an effects artisan, working on clips for, among other artists, Madonna, Michael Jackson, Lenny Kravitz, Tom Petty, and the Wallflowers. The Wallflowers clip, directed by David Fincher of now defunct Propaganda Films (he is now with bicoastal Anonymous Content), got Piper to working regularly with editor Angus Wall of Rock Paper Scissors, Los Angeles. This relationship took on a new dimension in '97 when Piper joined visual effects house A52, which Rock Paper Scissors had a hand in launching. The aforementioned "Boy in the Bottle" spot for Pepsi played a key role in helping Piper land an assignment at A52 that would eventually help further his budding directorial aspirations. The editor on the Pepsi commercial three years earlier, Chuck Willis of bicoastal Crew Cuts, thought of Piper when a Tostitos project, Blimp, starring comedian Chris Elliot, came up. He recommended Piper to the agency, BBDO New York (the same ad shop on the Pepsi job). Piper wound up getting the job as a visual effects artist, which found him working with director Eric Saarinen of Plum Productions, Santa Monica. The two struck up a rapport on the live action/effects combo commercial, which showed Elliot bungee jumping out of a blimp onto the Super Bowl football field. Saarinen and Piper teamed on numerous other spots, including extensive work for Chevy Venture. Meanwhile during his spare time in between gigs at A52, Piper was directing a spec spot, "Some Like It Fosters," which consisted of scenes featuring Marilyn Monroe from the classic film Some Like It Hot. Piper inserted his own footage to interact with Monroe and used the Fosters ale spec ad as a means to demonstrate his directorial prowess. Upon seeing the spot and learning of Piper's directorial ambition, Saarinen offered him the chance to join the helmers' roster at Plum in '98. For the next two-plus years there, Piper directed numerous projects for such advertisers as Tostitos via BBDO, Eveready Energizer batteries from TBWA/Chiat/Day, Los Angeles, Chevy for Campbell-Ewald, Warren, Mich., Mountain Dew out of Uniworld, New York, and an onmoney.com spot for DDB Chicago. The latter, which had Piper create a paper monster consisting of post-its, receipts and other paperwork, debuted on the '99 Super Bowl.
Shoot Magazine, Sep. 6, 2002
TOP SPOT OF THE WEEK: Nike Warms Up To Pre-Game Strategy
The latest Nike spot from Wieden+Kennedy (W+K), Portland, Ore., features a beautifully filmed, subtly edited montage of athletic endeavors in a multitude of sports and settings. Airing nationally in both :30 and :60 formats, the spot "Before" is somewhat reminiscent of "Move," a W+K-created Nike ad that aired earlier this year. Directed by Jake Scott of bicoastal RSA USA, "Move" also features a gorgeous collage of amateur and professional athletes. And therein lies the fundamental difference between "Before" and "Move," at least according to editor Adam Pertofsky, who cut both spots through Rock Paper Scissors, Los Angeles. "Before" is really the antithesis of "Move" in the way it was put together," stated Pertofsky. "'Move' was storyboarded out, and they shot it in over a couple of days. We pretty much knew where we were going—it was just multiple takes and camera angles. Whereas 'Before' used hours upon hours of film: Lance had so many different looks and feels. He really brought stuff in from all over the place," continued Pertofsky. The aforementioned shot of the little boy preparing to dive off a boat-dock was one such example of Acord bringing in a distinctive looking piece of film. "We actually went up to a lake and built a dock," recounted Acord. To produce the wave in the shot's background, Acord had some crewmembers drive a boat by the dock at a ludicrous rate of speed. He then shot the scene on a super 8 for a home movie type feel. "We really lucked out having Lance helm this job," offered Cude. "He's insanely talented," added Pertofsky.
Shoot Magazine, Sep. 6, 2002
TOP SPOT OF THE WEEK CREDITS: Just Prior To Doing It
EDITORIAL: Rock Paper Scissors, Los Angeles. Adam Pertofsky, editor; Val Thrasher and Andy Treki, assistant editors; Tatiana Vasquez, producer. POST/VISUAL EFFECTS: A52, Los Angeles. Dan Sumpter, Henry artist/online editor; Darcy Leslie Parsons, visual effects supervisor; Rick Hassen,
managing director; Leighton Greer, producer.
Computer Graphics World, Sep. 3, 2002
Ad Team Journeys to Arctic Circle for Ford "Ice Breaker"
Visual effects and design company A52 have announced details of their visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson Detroit's dramatic new Ford Super Duty Power Stroke 30-second spot entitled "Ice Breaker," which debuted on July 26.
Shots 71, Aug., 2002
Showcase: Adidas "Slugs"
Credits: Editorial: Rock Paper Scissors, Los Angeles, CA. Visual effects and animation: A52, Los Angeles, CA.
MediaPost's Out to Launch, Aug. 22, 2002
New Ford Super Duty Power Stroke :30 spot
Visual effects and design company A52 has announced details of their visual effects and design work for J. Walter Thompson Detroit's dramatic new Ford Super Duty Power Stroke :30 spot entitled "Ice Breaker," which debuted on Jul. 26. The latest spot in JWT's No Boundaries campaign, which first broke on Feb. 25, celebrates the go-anywhere, do-anything spirit of the Ford brand, features a Russian icebreaker carving its way through an ice field under the power of six diesel engines. When it gets stuck, however, it relies on a seventh diesel, the one under the hood of a new Ford F-350 that's lowered onto the ice. In the spot, the Ford is soon towing the icebreaker through the ice.
FastChannel eCreativeSearch Newsletter, Aug. 21, 2002
Member News From Around the Globe: A52 / Anonymous Content / The Whitehouse
Visual effects and design company A52 announced details of their visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson Detroit's dramatic new Ford Super Duty Power Stroke :30 spot entitled Ice Breaker. The latest spot in JWT's "No Boundaries" campaign - which first broke on February 25th and which celebrates the go-anywhere, do-anything spirit of the Ford brand - features a Russian icebreaker carving its way through an ice field under the power of six diesel engines. When it gets stuck, however, it relies on a seventh diesel, the one under the hood of a new Ford F-350 lowered onto the ice -- and which soon is seen towing the icebreaker through the ice. Led by executive producer Darcy Leslie Parsons, A52's project team consisted of producer Scott Boyajan, on-set visual effects supervisor Michael Gibson, creative director/Inferno artist Simon Brewster, 3D animators Westley Sarokin and Jeff Willette, Flame artist Marguerite Cargill and Henry artists and online editors Scott Johnson and Lisa Tomei.
Design In Motion, Aug. 20, 2002
A52 Journeys to Arctic Circle for Ford 'Ice Breaker'
A52 completed visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson's dramatic new Ford Super Duty Power Stroke :30 spot entitled "Ice Breaker," which debuted across the United States on July 26.
AdWeek, Aug. 19, 2002
Creative Coverage: Best Spots of July, adidas "Slugs"
Moving in perfect harmony, two shoes run the streets of a busy city. Thing is, there's no one in them. (That you, Claud Rains?) As people stare, the sneakers wait for a light to change, run under a truck, even moonwalk. Finally, a man sweeps one shoe into the gutter. Out pops a slimy garden slug, taking a breather. It regains its composure after a few seconds, and both slug-filled shoes march on. Graphic: "More power to you." Tagline: "Forever sport." Complete A52 credits.
Videography Online Daily, Aug. 19, 2002
A52 Breaks the Ice for Anonymous Content
A52 did visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson Detroit's new Ford Super Duty Power Stroke 30-second spot, titled "Ice Breaker." [Link.]
Highend3D.com, Aug. 16, 2002
A52 joins Arctic expedition for Ford
LA visual effects and design company A52's on-set visual effects supv. Michael Gibson and producer Scott Boyajan recently joined director Andrew Douglas' crew for a breathtaking Arctic expedition on behalf of JWT for a :30 spot entitled Ford "Ice Breaker."
Shoot Magazine, Aug. 16, 2002
TOP SPOT OF THE WEEK: Adidas' Invisible Man Or Mollusk? 180/TBWA, Gorgeous' Budgen And A52 Jog A Mile In A Slug's Shoes
Budgen's live action footage was, of course, heavily supplemented by the visual effects work of A52, Los Angeles. Rothwell indicated that while Gorgeous had worked with "Slugs" editor Angus Wall of Rock Paper Scissors, Los Angeles, before, Gorgeous had never collaborated with A52: "We have nothing but praise for them," Rothwell revealed. A52's Simon Brewster, who served as creative director/visual effects supervisor/inferno artist on "Slugs," remarked that there were "two parts to this job: the live action shoes and the CG slugs." Brewster said that in addition to removing the actor who was filmed running through the city, A52 also had to replace the bits of the shoes that were obscured by the actor's motion. As far as creating the slugs, A52 executive producer/on-set visual effects advisor Darcy Leslie Parsons revealed that the CG work was done using Side Effects' Houdini software, which, according to Parsons, "takes longer to set up than Lightwave or Maya," but allows for more animating flexibility once the CG environment is up and running." This flexibility proved useful when the A52 team realized that perhaps the slugs' jogging-induced heavy breathing was too exaggerated. Houdini allowed them to easily slow the slugs' chest movements down to a more low-key level of huffing and puffing.
Shoot Magazine, Aug. 16, 2002
TOP SPOT OF THE WEEK CREDITS: Invisible Man Or Mollusk?
EDITORIAL: Rock Paper Scissors, Los Angeles. Angus Wall, editor; Laurence Thrush, assistant editor; Linda Carlson, executive producer, Corina Dennison, producer. POST/VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, creative director/ visual effects supervisor/Inferno artist; Denis Gauthier and Jeff Willlette, 3-D supervisors/animators; Tim Bird, Marguerite Cargill and Kristin Johnson, Inferno artists; Scott Johnson, Henry artist/online editor, Craig Halperin, 3-D animator; Darcy Leslie Parsons, executive producer/ on-set visual effects producer; Ron Cosentino, producer.
VFXPro, Aug. 16, 2002
A52 Breaks the Ice for Anonymous Content
A52 did visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson Detroit's new Ford Super Duty Power Stroke 30-second spot, titled "Ice Breaker."
CG Focus, Aug. 15, 2002
J. Walter Thompson, Andrew Douglas and A52 Journey to the Arctic Circle for Ford "Ice Breaker"
"Andrew is known for his live-action cinematography that he's captured on locations all around the world, and going to the Arctic to film this story was a perfect adventure for him," explained A52's creative director Simon Brewster, who served as the project's Inferno artist. "Our role was to support Andrew in executing his vision."
Film&Video Magazine, Aug. 15, 2002
J. Walter Thompson, Andrew Douglas and A52 Journey to the Arctic Circle for Ford "Ice Breaker"
Visual effects and design company A52 today announced details of their visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson Detroit's dramatic new Ford Super Duty Power Stroke :30 spot entitled "Ice Breaker," which debuted on Jul. 26.
InsideCG, Aug. 15, 2002
J. WALTER THOMPSON, ANDREW DOUGLAS AND A52 JOURNEY TO THE ARCTIC CIRCLE FOR FORD
Visual effects and design company A52 today announced details of their visual effects and design work for Anonymous Content and director Andrew Douglas for J. Walter Thompson Detroit's dramatic new Ford Super Duty Power Stroke :30 spot entitled "Ice Breaker," which debuted on Jul. 26.
Boards Online, Aug. 14, 2002
New Campaigns: Ford's Arctic Expedition
Shot on location on the top of the world by Andrew Douglas, "Ice Breaker" employs natural landscape and tricky effects from LA visual effects shop A52 to embody the ethos of Ford's on-going No Boundaries campaign. The spot shows a Ford truck that is called on to rescue a Russian icebreaker stuck in the ice. A52's team used Inferno to create and visually enhance the pathway through the ice in the ship's wake, to create the ship's movement and then to composite together the scene where the truck is lowered onto the ice from several plates. A52 also added water and ice enhancements to underwater shots.
Animation World Network, Aug. 12, 2002
A52 Slugs One In For Adidas
A52's CGI team used Houdini to create the original animation, 3D Equalizer for camera tracking, Deep Paint 3D for painting and texture mapping, Renderman for rendering and Silicon Grail Chalice for compositing. In describing the process of creating the slugs, A52's project 3D supervisors Denis Gauthier and Jeff Willette both acknowledged the help afforded by the latest version of Houdini, which offered them a lot of interactive modeling tools, making creating organic shapes much easier.
Film&Video Magazine, Aug. 9, 2002
A52 Creates CGI Slugs and Effects for 180/TBWA's First Adidas TV Spot
Visual effects and design company A52 today announced details of their visual effects and design work for Gorgeous Enterprises and director Frank Budgen for 180/TBWA's new Adidas :60 spot entitled "Slugs," which debuted on Jul. 15.
Inside CG, Aug. 7, 2002
A52 create realistic ADIDAS slugs
Visual effects and design company A52 contributed effects and design work for Gorgeous Enterprises and director Frank Budgen, for a 180/TBWA Adidas spot entitled "Slugs,"
Post Magazine, Aug. 7, 2002
Running On Empty
Visual effects company A52 (www.a52.com) created and animated the slugs and did significant work to the shoes. During production, a person running down the street was filmed with motion control. In post the person was erased and replace with a clean plate with Discreet’s Inferno. For shots where the interior of the shoe appears, the shoe interior was composited with Discreet’s Inferno and 3D elements were added with SideEffect’s Houdini. To model and animate the slugs A52 used Houdini for animation, 3D Equalizer for camera tracking, Deep Paint 3D for painting and texture mapping, Renderman for rendering and Silicon Grail Chalice for compositing the slugs into the shoes. Discreet’s Inferno was used for the final composite of the CG, live action and graphics.
CG Focus, Aug. 7, 2002
A52 Creates CGI Slugs and Effects for 180/TBWA's First Adidas TV Spot
Led by A52's executive producer Darcy Leslie Parsons, producer Ron Cosentino and creative director and project visual effects supervisor Simon Brewster (who also served as inferno artist), A52's team created the animated slugs - and also did extensive clean-up of the shoes, replacing them in every shot for the proper choreographed movement and compositing-in shoe interiors. Brewster integrated CGI, live-action and graphic design elements in inferno.
FastChannel eCreativeSearch Newsletter, Aug. 7 , 2002
Member News From Around the World: A52
A52 announced details of their visual effects and design work for Gorgeous Enterprises and director Frank Budgen for 180/TBWA's new Adidas :60 spot entitled Slugs. Led by A52's executive producer Darcy Leslie-Parsons, producer Ron Cosentino and creative director and project visual effects supervisor Simon Brewster, A52's team created the animated slugs and also did extensive clean-up of the shoes, replacing them in every shot for the proper choreographed movement and compositing-in shoe interiors. 3D supervisors Denis Gauthier and Jeff Willette both acknowledged the help afforded by the latest version of Houdini which made creating organic shapes much easier. The editorial team was led by producer Linda Carlson and included producer Corina Dennison, editor Angus Wall and assistant editor, Laurence Thrush. The music, "The Now Sound of Ursula 1000," was licensed with the assistance of Sarah Sciotto, executive producer at Santa Monica's Ten Music.
VFXPro, Aug. 5, 2002
A52 Conjures ADIDAS Slugs
Visual effects and design company A52 contributed visual effects and design work for Gorgeous Enterprises and director Frank Budgen for a 180/TBWA Adidas spot entitled "Slugs," which debuted on July 15. (Includes QuickTimes).
Videography Online Daily, Aug. 5, 2002
A52 Conjures Adidas 'Slugs' for 180/TBWA
Visual effects and design company A52 contributed visual effects and design work for Gorgeous Enterprises and director Frank Budgen for a 180/TBWA Adidas spot entitled "Slugs," which debuted on July 15. [Link.]
Design In Motion, Aug. 2, 2002
A52 Conjures Adidas 'Slugs' for 180/TBWA
Visual effects and design company A52 contributed visual effects and design work for Gorgeous Enterprises and director Frank Budgen for a 180/TBWA Adidas spot entitled "Slugs," which debuted on July 15. (Includes QuickTimes).
Shoot Magazine, Aug. 2, 2002
TOP SPOT OF THE WEEK: Element 79 Makes Bold Pitch For Gatorade Fierce
Beads of orange sweat, courtesy of visual effects/design house A52, Los Angeles, appear on his skin and his eyes narrow.
Shoot Magazine, Aug. 2, 2002
Top Spot of the Week Credits: Jeter vs. Gargoyles
A52, Los Angeles. Darcy Leslie Parsons, executive producer, Rick Hassen, managing director; Scott Boyajan, producer; Simon Brewster, Inferno artist; Scott Johnson, Henry artist; Marguerite Cargill, Patrick Ferguson, Kristin Johnson and Mark Alan Loso, Flame/Inferno artists; Ben Looram, online assistant.
Shoot Magazine, Aug. 2, 2002
CREATIVE SHOWCASE: Spank! Music Bleeds For Gatorade
POST/VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, Inferno artist; Scott Johnson, online editor.
Shoot Magazine, Aug. 2, 2002
THE BEST WORK YOU MAY NEVER SEE: "Inadequate Representation"
"Inadequate Representation" was edited by Olaf Garcia via Rock Paper Scissors, Los Angeles. Cornia Dennison produced for Rock Paper Scissors. Ben Loorham of A52, Los Angeles, served as online editor. The colorist was Shane Harris of Company 3, Santa Monica. Audio mixer was Eric Ryan of RavensWork, Venice, Calif.
Just-Auto.com, Jul. 29, 2002
USA: New Toyota electric vehicle ad required 6,000 sq ft of grass
Torrance, California- based Toyota Motor Sales USA is airing a new TV commercial for the zero emission, all- electric RAV4- EV that required more than 6,000 square feet of grass, hundreds of wild flowers and other foliage before filming could start. Director Patrick Murphy from visual effects and design company A52 and team had one day to turn a barren hill into a green paradise. The spot gives viewers a look at a transforming city skyline and is one of several components of the RAV4-EV campaign, initially launched in February, when the vehicle became available to retail customers in California. Through a 360-degree view of the RAV4-EV, a lifeless meadow in the background becomes a thriving environment. The skyline's reflection in the window of the RAV4-EV reveals a glimpse of what Toyota thinks a US city could look like if everyone drove a zero emission vehicle. The 30-second spot highlights the advanced technology vehicle, which can help keep the air clean by using electric power. After the smog clears, trees grow, flowers bloom, the sun shines and the voice-over says, “The car won't help you get a better table at a fancy restaurant ... It has, however, one quality most automobiles can't claim: It will make the world a better place to live.”
EV World, Jul. 30, 2002
Toyota's RAV4-EV Electrifies City Skyline; TV spot promotes RAV4 EV and other environmental products from Toyota
TORRANCE, Calif., July 29 -- Toyota Motor Sales, U.S.A., Inc., continues to demonstrate its commitment to environmental issues by airing a commercial for the zero emission, all-electric RAV4-EV, giving viewers a rare look at a transforming city skyline. The spot is one of several components of the RAV4-EV campaign, initially launched in February, when the vehicle became available to retail customers in California. Through a 360-degree view of the RAV4-EV, a lifeless meadow in the background becomes a thriving environment. The skyline's reflection in the window of the RAV4-EV reveals a glimpse of what a city could look like if everyone drove a zero emission vehicle like the RAV4-EV. The 30-second spot highlights the advanced technology vehicle, which can help keep the air clean by using electric power. After the smog clears, trees grow, flowers bloom, the sun shines and the voice-over reads, "The car won't help you get a better table at a fancy restaurant ... It has, however, one quality most automobiles can't claim: It will make the world a better place to live." "The RAV4-EV was developed with the environment and real-world driving in mind," said Steve Sturm, Toyota Motor Sales' vice president of marketing. "It's just one more way we can offer advanced technology vehicles that enhance the quality of life." The filming required more than 6,000 square feet of grass, hundreds of wild flowers and other foliage to complete the desired effect. Director Patrick Murphy from visual effects and design company A52 and team had one day to turn a barren hill into a green paradise. Created by Saatchi & Saatchi Los Angeles, the commercial will air on spot cable in Los Angeles, San Francisco, Sacramento and San Diego. The spot breaks the week of July 29 on Discovery Channel, History Channel, Animal Planet, A&E, Bravo and MSNBC....
FastChannel eCreativeSearch Newsletter, Jul. 24 , 2002
Member News From Around the World: A52/Villains
A52 today announced details of their visual effects and design work for Villains and director Phil Joanou for J. Walter Thompson’s new Baileys Irish Cream :30 spot entitled Swirls. In the spot, several friends enjoy some Baileys while awaiting their friend Tom. In one glass, the Baileys is shown to swirl around dramatically. Meanwhile, while making his way to the party, the roving friend Tom encounters several visions that imitate the dramatic Baileys swirl, including swirls in a puddle in the street, a waterfall storefront, a spout of steam and the night sky itself. Led by A52’s executive producer Darcy Leslie Parsons, producer Scott Boyajan and creative director and project visual effects supervisor Simon Brewster (who also served as Inferno artist), A52’s team helped create all the swirls and integrate them with director of photography Harris Savides’ warm imagery.
Post Magazine's Daily Newsletter. Jul. 16, 2002
A52 SWIRLS BAILEYS
To accentuate the mesmerizing flavor of Baileys Irish Cream for J. Walter Thompson, visual effects company A52 uses the swirl of Baileys in a glass to graphically describe the entrancing effect of the liquor in the :30 directed by Phil Joanou of Villians production company. [Link.]
Design In Motion, Jul. 17, 2002
JWT, Villains, A52 Give Baileys Some 'Swirls'
Visual effects and design company A52 completed visual effects and design work for Villains and director Phil Joanou for J. Walter Thompson's new Baileys Irish Cream spot, a :30 entitled "Swirls," which debuted on national cable on June 8.
Boards Magazine, July, 2002
Animation Snapshot: Gatorade "Defining Mia" / A52
A sequence of animated CGI X-rays shows Gatorade Ice at work inside U.S. soccer star Mia Hamm. Directed by Phil Joanou through Villains, the spot relied on LA's A52 and visual effects supervisor Simon Brewster to create the 3D skeleton shots and handle extensive crowd and stadium replacement. Credits for Element 79 Partners include: Dennis Ryan, creative director; Canice Neary, copywriter; Doug Behm, executive art director; Jeff Felter, executive producer; Jeff Drooger, producer.
Film&Video Magazine, Jul. 11, 2002
J. Walter Thompson, Villains and A52 Give Baileys A Swirl in New TV Ad
Visual effects and design company A52 today announced details of their visual effects and design work for Villains and director Phil Joanou for J. Walter Thompson's new Baileys Irish Cream :30 spot entitled "Swirls," which debuted on national cable in mid-June. In the spot, several friends enjoy some Baileys while awaiting their friend Tom. In one glass, the Baileys is shown to swirl around dramatically. Meanwhile, while making his way to the party, the roving friend Tom encounters several visions that imitate the dramatic Baileys swirl, including swirls in a puddle in the street, a waterfall storefront, a spout of steam and the night sky itself. Led by A52's executive producer Darcy Leslie Parsons, producer Scott Boyajan and creative director and project visual effects supervisor Simon Brewster (who also served as Inferno artist), A52's team helped create all the swirls and integrate them with director of photography Harris Savides' warm imagery....
MediaPost's Out to Launch, Jul. 11, 2002
Baileys Irish Cream
Visual effects and design company A52 announced details of their visual effects and design work for J. Walter Thompson's new Baileys Irish Cream :30 spot entitled "Swirls," which debuted on national cable in mid-June. In the spot, several friends enjoy some Baileys while awaiting their friend Tom. In one glass, the Baileys is shown to swirl around dramatically. Meanwhile, while making his way to the party, the roving friend Tom encounters several visions that imitate the dramatic Baileys swirl, including swirls in a puddle in the street, a waterfall storefront, a spout of steam and the night sky itself.
Digital Producer, Jul. 10, 2002
J. Walter Thompson, Villains and A52 Give Baileys A Swirl in New TV Ad
Led by A52’s executive producer Darcy Leslie Parsons, producer Scott Boyajan and creative director and project visual effects supervisor Simon Brewster (who also served as Inferno artist), A52’s team helped create all the swirls and integrate them with director of photography Harris Savides’ warm imagery. “A52 was instrumental in helping us figure out how we were going to create these swirls – and how they were going to come to life,” explained JWT’s broadcast producer Debbie Heick-Franchi. “The swirls were totally created and integrated by A52.”
Digital Post Production, Jul. 10, 2002
J. Walter Thompson, Villains and A52 Give Baileys A Swirl in New TV Ad
As told by Simon Brewster, “Each of the effects began with the core elements filmed by Phil Joanou, and then involved using a combination of 3D elements and Inferno to finish them.” For example, for creating the glass of swirling Baileys, a glass filled with the liquid was shot, but then the liquid was replaced with CGI liquid, CGI ice cubes were added and then the Inferno was used for compositing and integrating the elements. The tools used by A52’s CGI team included Houdini to create original animation, 3D Equalizer for camera tracking, Renderman for rendering and Silicon Grail Chalice for compositing....
Hollywood Industry, Jul. 10, 2002
J. Walter Thompson, Villains and A52 Give Baileys A Swirl in New TV Ad
Visual effects and design company A52 today announced details of their visual effects and design work for Villains and director Phil Joanou for J. Walter Thompson's new Baileys Irish Cream :30 spot entitled "Swirls," which debuted on national cable in mid-June.
CG Focus, Jul. 10, 2002
J. Walter Thompson, Villains and A52 Give Baileys A Swirl in New TV Ad
Visual effects and design company A52 today announced details of their visual effects and design work for Villains and director Phil Joanou for J. Walter Thompson's new Baileys Irish Cream :30 spot entitled "Swirls," which debuted on national cable in mid-June. In the spot, several friends enjoy some Baileys while awaiting their friend Tom. In one glass, the Baileys is shown to swirl around dramatically. Meanwhile, while making his way to the party, the roving friend Tom encounters several visions that imitate the dramatic Baileys swirl, including swirls in a puddle in the street, a waterfall storefront, a spout of steam and the night sky itself. Led by A52's executive producer Darcy Leslie Parsons, producer Scott Boyajan and creative director and project visual effects supervisor Simon Brewster (who also served as Inferno artist), A52's team helped create all the swirls and integrate them with director of photography Harris Savides' warm imagery....
FastChannel eCreativeSearch Newsletter, July 10, 2002
Member News from Around the World: A52
Phil Joanou/Villains has been busy with the Vanilla Coke campaign for The Martin Agency. In "Fence" or (Youthful Curiosity is Rewarded), a young man sticks his head in a hole in a wooden wall. Immediately caught in a headlock, actor Chazz Palminteri steps out of the shadows and states, "Your youth and curiosity have served you well." The young man is given a taste of the new soda and is then thrust back onto the street along with a Vanilla Coke following immediately after him. In the second spot, "Closet" or (The Lucky Peep), a young man carefully looks into a peephole and finds himself instantly pulled into the room on the other side of the door. Chazz Palminteri states, "Let me reward your curiosity with a new Vanilla Coke." After tasting a sip, the inquisitive young man in thrown out of the room with Coke in hand, sighing in relief. Rounding out the team are executive producer Robin Benson/Villains and the visual effects crew from A52 - Scott Johnson/Henry Artist, Simon Brewster/ Creative Director and Scott Boyajan/Producer.
SoloNews.com, July 10, 2002
J. Walter Thompson, Villains and A52 Give Baileys A Swirl in New TV Ad
Award-winning commercial and music video visual effects and design company A52 helped J. Walter Thompson and director Phil Joanou create a stirring, visually provocative new commercial for Baileys Irish Cream. Story provides details of A52's work and comments from agency's broadcast producer.
Boards Magazine, June, 2002
From the head of Zeus an agency sprung: Element 79
Downtime has not yet entered into the lexicon of the E79 collective conscious. Since its inception the agency has completed clever and compelling projects for Gatorade featuring Mia Hamm, directed by Phil Joanou of Villains (a transitional project from FCB) with effects from A52, a Theo Delaney-directed campaign for Tropicana through Hotspur & Argyle of London (see sidebar), an animated Aquafina spot directed by Dan Capozzi of Bermuda Shorts and Gatorade Energy Bar directed by Erich Joiner of Tool of North America....
Creativity Magazine, June, 2002
Focus on Animation & Effects: A52
Thanks to a slew of high-profile jobs over the past few years, effects and design shop A52 is hardly a well-kept secret. Led by veteran Inferno artist Simon Brewster, the shop has colored Gatorade's sweat, made Baby Bob talk and flipped, twisted and polished campaigns for Volvo, Toyota, Audi, Adidas and Nissan. A52 also lent an invisible hand to Nike's "Move" and "Freestyle," and crafted sci-fi dramas like Ford's "Geyser," in which an impeccably color-graded Exporer rolls through a surreal field of composited geysers and boiling mud, to the tune of Beethoven's "Ode to Joy." The shop has also made inroads in the music video department, with excellent effects work on clips for bands like No Doubt (Hey Baby" and A Perfect Circle ("Judith")....
Creativity Magazine, June, 2002
Music Video: The Vines "Get Free"
These neo-Nirvanaesque Aussies rock something fierce and so does this refreshingly low-key vid, in which Roman Coppola betrays none of the vaunted excesses of his daddy. The group is ostensibly performing outdoors with only banks of lights as a set, during a massing thunderstorm. Increasing bolts of lightning eventually result in a series of mini explosions that appear to decimate the band, but this is all handled very matter-of-factly, complemented by a brilliantly relaxed edit. Rain hats off to A52 for seamless effects.
Director: Roman Coppola, The Directors Bureau. Editor: Jim Haygood, Spot Welders. Effects: A52.
Boards Online, June 26, 2002
New Campaigns: Curious Vanilla Coke
Phil Joanou of Villains, LA teamed up with The Martin Agency in Richmond to create a curious new campaign for Vanilla Coke. Graphics/Effects: A52/ Los Angeles, CA. Graphic Artists: Simon Brewster.
FastChannel eCreativeSearch Newsletter, June 12, 2002
Member News from Around the World: A52
Visual effects and broadcast design company A52 today announced details of their visual effects work for The Directors Bureau and director Roman Coppola for the debut music video from the sensational Australian band, The Vines. The video is for "Get Free," the first single for The Vines' Capitol Records release entitled "Highly Evolved," which is due out on July 8. A52's project team was led by executive producer Darcy Leslie Parsons and producer Leighton Greer, and also included project visual effects supervisor and Infinity artist Dan Sumpter (who also served as on-set visual effects supervisor), visual effects supervisor and Inferno artist Mark Alan Loso and online editor Scott Johnson.
Shoot Magazine, June 6, 2002
Fours Score Impressively At 11th Annual AICP Show
Advertising Excellence/Single Commercial
Nike, "Freestyle" (:60). HSI Productions, bicoastal. Paul Hunter, director; Max Malkin, DP; Kerstin Emhoff, executive producer; Nina Huang, producer. Wieden+Kennedy, Portland, Ore. Jim Riswold, creative director; Hal Curtis, creative director/art director; Vic Palumbo, producer; Jimmy Smith, copywriter. Rock Paper Scissors, Los Angeles. Adam Pertofsky, editor; Val Thrasher, assistant editor; Linda Carlson, executive producer; Tatiana Vasquez, producer. Company 3, Santa Monica. Stefan Sonnenfeld and Rob Sciarratta, colorists; Missy Papageorge and Tina Comstock, producers. A52, Los Angeles. Patrick Murphy, visual effects supervisor/Inferno artist; Ben Looram, Inferno assistant; Ali Leventhal, Flame artist; Liz Roewe, executive producer; Jessica Stockton and Darcy Leslie Parsons, producers. RavensWork, Venice, Calif. Robert Feist, mixer; Chris Canning, assistant mixer. Endless Noise, Los Angeles, Jeff Elmassian, co-composer/producer/sound designer. Afrika Bambaataa, co-composer/producer. Breakthru Productions, New York. Steven Brown, co-composer/producer.
DesignInMotion, June 4, 2002
A52 Effects Vines Video For Roman Coppola
A52 provided visual effects services to The Directors Bureau and director Roman Coppola for the debut music video from the Australian band The Vines. The video is "Get Free," the first single for The Vines' Capitol Records release entitled "Highly Evolved," which is due out on July 8. The 2:08 video debuted on The Vines' Web site on May 15 and premiered on MTV on May 27....
VFXPro, June 3, 2002
A52 'Gets Free' from The Vines
The video was shot inside the Chandler Studios in Van Nuys, California. A52 added lightning strikes and replaced the skies throughout director of photography Jeff Cronenweth's footage....
PostIndustry, June 3, 2002
A52 'Gets Free' from The Vines
A52 completed visual effects work for The Directors Bureau and director Roman Coppola for the debut music video from Australian band The Vines. The video is for "Get Free," the first single for The Vines' Capitol Records release entitled "Highly Evolved," which is due out on July 8....
Music Video Wire, June 3, 2002
A52 Visual Effects
ROMAN COPPOLA DIRECTS DEBUT VIDEO FOR AUSTRALIAN SENSATIONS “THE VINES,” TAPS A52 FOR VISUAL EFFECTS
*Coppola's feature debut "CG" opened theatrically last Friday...
Film&Video Magazine, May 2002
Finishing the Shot: Inferno & Ice
Visual effects and design company A52, Hollywood, Calif. recently did visual effects work for Element 79 Partners' "Defining Mia" -- a :30 Gatorade Ice spot featuring U.S. soccer star Mia Hamm....
DigitalPostProduction, May 31, 2002
Roman Coppola Directs Debut Video for Australian Sensations "The Vines," Taps A52 for Visual Effects
Visual effects and design company A52 today announced details of their visual effects work for The Directors Bureau and director Roman Coppola for the debut music video from the sensational Australian band The Vines.
Film&Video Magazine, May 31, 2002
Roman Coppola Directs Debut Video for Australian Sensations "The Vines," Taps A52 for Visual Effects
Visual effects and design company A52 today announced details of their visual effects work for The Directors Bureau and director Roman Coppola for the debut music video from the sensational Australian band The Vines.
SoloNews.com, May 31, 2002
Roman Coppola Directs Debut Video for Australian Sensations "The Vines," Taps A52 for Visual Effects
The video is for "Get Free," the first single for The Vines' Capitol Records release entitled "Highly Evolved," which is due out on July 8. The video debuted on The Vines' site on CapitolRecords.com on May 15 and premiered this week on MTV...
Music Industry News Network, May 31, 2002
ROMAN COPPOLA DIRECTS DEBUT VIDEO FOR AUSTRALIAN SENSATIONS "THE VINES," TAPS A52 FOR VISUAL EFFECTS
Roman Coppola's debut music video for The Vines -- a dramatic piece that makes footage shot on a stage look like it was captured in a dangerous lightning storm.
Digital Producer, May 30, 2002
Roman Coppola Directs Debut Video for Australian Sensations "The Vines," Taps A52 for Visual Effects
Visual effects and design company A52 today announced details of their visual effects work for The Directors Bureau and director Roman Coppola for the debut music video from the sensational Australian band The Vines.
EditorsNet, May 30, 2002
Jim Haygood, A.C.E., Edits The Vines' 'Get Free'
The video, from MTV Music Video Award-winning director Roman Coppola (whose debut feature film "CQ" opened nationwide on May 24) was shot inside the Chandler Studios in Van Nuys, Calif. Visual effects for the spot were provided by A52, which also conformed the online edit.
Shoot Magazine, May 24, 2002
Gold Scarce At Clios; TV Not Grand
Editing—Gold
Nike, "Freestyle." Wieden+Kennedy, Portland, Ore. Hal Curtis, creative director/art director; Jim Riswold, creative director; Jim Elchman, art director; Jimmy Smith, copywriter; Vic Palumbo, producer. HSI Productions, Los Angeles. Paul Hunter, director. Editing by Rock Paper Scissors, Los Angeles. Adam Pertofsky, editor. Music by Digihearit? (now Endless Noise, Los Angeles). Jeff Elmassian, co-composer/producer/sound designer. Afrika Bambaataa, New York. Afrika Bambaataa, co-composer/producer. Breakthru Productions, New York. Steven Brown, co-composer/producer. Animation by A52, Los Angeles.
eCreativeSearch News, May 15, 2002
Member news from around the world: A52
Visual effects and design company A52 announced details of their work for Go Film and director Rad-ish (Austrians Christoph Chrudimak and Mortiz Friedel) for TBWA/Chiat/Day's new 2002 Nissam Altima advertising campaign. Nine of the ten spots involve A52's visual effects artistry, and the newest of these, Ticketcam, debuted April 1st. Led by former executive producer Liz Roewe and producers Darcy Leslie-Parsons and Leighton Greer, the team also included visual effects supervisors and Inferno artists Simon Brewster and Mark Loso, on-set visual effects supervisor Ed Chapman and Henry artist and online editor, Scott Johnson. Editor Adam Pertofsky and his team from Rock Paper Scissors contributed on Ticketcam as well as many of the other spots in the 2002 campaign. A52 rounds out their participation in this Nissan promotion with: White Bread, Vanilla, Yawn, Addictive, Side Effects, Car of the Year, May Impair, and All Nighter.
VFXPro eNews, May 15, 2002
Audi 'Spirit' Soars With A52, Anonymous Content
PostIndustry eNews, May 15, 2002
Audi 'Spirit' Soars With A52, Anonymous Content
PostIndustry, May 14, 2002
Spotlight: A52 Soars with Audi
Visual effects and design company A52 completed visual effects work for Anonymous Content and director Andrew Douglas for McKinney & Silver's :60 Audi "Spirit" spot, which debuted on February 11 and aired throughout NBC's 2002 Winter Olympics broadcasts.
VFXPro, May 14, 2002
Spotlight: A52 Soars with Audi
Visual effects and design company A52 completed visual effects work for Anonymous Content and director Andrew Douglas for McKinney & Silver's :60 Audi "Spirit" spot, which debuted on February 11 and aired throughout NBC's 2002 Winter Olympics broadcasts.
PostMagazine's Daily Newsfeed, May 13, 2002
A52 POSTS MIA HAMM GATORADE SPOT
WEST HOLLYWOOD — With the game on the line, only the coolest of athletes can control their excitement enough to execute in the clutch and thus those rare players are said to have ice in their veins. For the full story, go to link.
The International ANDY Awards, May 3, 2002
Big Winners: Nike Freestyle
agency - Wieden + Kennedy; client - Nike; creative directors - Jim Riswold, Hal Curtis; art directors - Hal Curtis, Tim Hanrahan, Deborah Evans (HSI); writer - Jimmy Smith; agency producer - Vic Palumbo; production company - HSI; producers - Kerstin Emhoff, Nina Huang; directors - Paul Hunter, Frank Budgen; music post production - Endless Noise; editor - Adam Pertofsky (Rock Paper Scissors); music - Afrika Bambaataa, Jeff Elmassian (Endless Noise), Steven 'Boogie' Brown (Breakthru Productions); cinematography - Max Malkin; special effects - Patrick Murphy (A52); cinematography - Savion Glover; sound mixer - Robert Feist (Ravenswork).
eCreativeSearch News, May 1, 2002
Member news from around the world: A52
Visual effects and design company A52 announced details of their visual effects work for Villains and director Phil Joanou for Element 79 Partners' fast-paced Defining Mia - Gatorade Ice :30 spot, which debuted on April 1st. Led by visual effects supervisor and Inferno artist, Simon Brewster (who is also A52's creative director), A52's team created the CGI skeleton X-ray effect, handled extensive crowd and stadium replacement and created the spot's explosive end-tag. Final audio was mixed by Santa Monica's POP Sound.
Videography Online Daily , May 1, 2002
A52 Spotlights Nissan Altima
Visual effects and design company A52 has completed visual effects and design work for Go Film and director Rad-ish (Austrians Christoph Chrudimak and Mortiz Friedel) for TBWA/Chiat/ Day's 2002 Nissan Altima campaign. Link.
Creative Review, April 2002
Pick of the month: Nike "Move" campaign
from Wieden + Kennedy, Amsterdam and Portland...
Graphic Design USA, April 2002
People: Rick Hassen
West Hollywood CA: Visual effects and design company A52 taps Rick Hassen as managing director. Most recently serving as executive producer for visual effects boutique Sea Level, Hassen is an award-winning documentary producer and UCLA graduate. He began his career at Pacific Ocean Post as senior vp in 1985 (then called Visualize) and helped it grow into a popular post and VFX company.
Videography, Apr. 30, 2002
A52 Spotlights Nissan Altima
Visual effects and design company A52 has completed visual effects and design work for Go Film and director Rad-ish (Austrians Christoph Chrudimak and Mortiz Friedel) for TBWA/Chiat/ Day's 2002 Nissan Altima campaign.
CG Focus, Apr. 30, 2002
A Cool Introduction for Gatorade Ice, Courtesy of Element 79 Partners, Villains and A52
Visual effects and design company A52 details their visual effects work for Villains and director Phil Joanou for Element 79 Partners' fast-paced "Defining Mia" Gatorade Ice :30 spot, which debuted on Apr. 1.
VFXPro, Apr. 29, 2002
A52 Spotlights Love Affair With Nissan Altima
A52 contributed visual effects and design work for Go Film and directors Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima advertising campaign. Nine spots of the campaign's ten involve A52's visual effects artistry; the newest of those, the :30 "Ticketcam," debuted April 1.
DesignInMotion, Apr. 29, 2002
A52 Spotlights Love Affair With Nissan Altima
A52 contributed visual effects and design work for Go Film and directors Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima advertising campaign. Nine spots of the campaign's ten involve A52's visual effects artistry; the newest of those, the :30 "Ticketcam," debuted April 1.
Digital Video Editing, Apr. 29, 2002
A52, Go Film, Rad-ish and TBWA/Chiat/Day Spotlight Love Affair Between New Nissan Altima and "Ticketcam"
After seeing the first edit of the spot, TBWA/Chiat/Day's campaign art director Jason Stinsmuehlen mentioned his lack of initial enthusiasm, stating that the spot hadn't yet come to life. As A52 creative director Simon Brewster related, "The idea was to give a real point of view to the camera when it sees this car. I got the sequence from the Avid and brought it into Inferno, and then we built-up graphics on top of that and actually put in some extra zooms and bumps that give the ticketcam some personality. Then we got a 2k high-res transfer from Company 3 and brought that in, then we applied the effects and wound-up with something that really does convey a sense of emotion."
Digital Producer, Apr. 29, 2002
A52, Go Film, Rad-ish and TBWA/Chiat/Day Spotlight Love Affair Between New Nissan Altima and "Ticketcam"
"Simon created a visual identity for this device, which didn't have much going for it before that," Stinsmuehlen said. "Usually I don't hold up aesthetics to be as important as I did in that case, but he ended up helping the concept as well; I think his efforts made it more clear. Also," Stinsmuehlen concluded, "he just made it feel sort of special and cool to look at, which ended up being the difference between good and great."
SoloNews, Apr. 29, 2002
A52, Go Film, Rad-ish and TBWA/Chiat/Day Spotlight Love Affair Between New Nissan Altima and "Ticketcam"
“Of all the campaign’s spots,” TBWA/Chiat/ Day’s campaign art director Jason Stinsmuehlen explained, “I was actually most pleased with Ticketcam, and I'm a fan of what Simon brought to that spot,” referring to A52 visual effects supervisor, Inferno artist and creative director Simon Brewster....
Shoot Magazine, Apr. 26, 2002
Creative Showcase: Spotlight: POP Sound, DAG Visit Universal Orlando
POST/VISUAL EFFECTS: A52, Los Angeles. Rick Hassen, managing director; Darcy Leslie Parsons, executive producer; Kelly Zamarin, producer; Dan Sumpter, Infinity artist; Mark Felt, Inferno artist.
Shoot Magazine, Apr. 19, 2002
SPECIAL REPORT: VISUAL EFFECTS_ Changing Times
The visual effects business in 2002 isn't what it used to be, several top players in the field say, but it's better than most expected at this stage. A sampling of effects companies surveyed by SHOOT finds that after a disastrous tail end of 2001, the first quarter of '02 was strong, albeit a little erratic and unpredictable....
Shoot Magazine, Apr. 19, 2002
Top Spot of the Week: Gatorade Scores With Ice-Cold Superstar... Director Phil Joanou, Element 79 And A52 Freeze Soccer's Mia Hamm
Gatorade Ice's new :30, "Defining Mia," explores the ice water in Hamm's veins, and in doing so, offers up some striking detail, both athletic and anatomic. Created by Element 79 Partners, Chicago, the spot was directed by Phil Joanou of bicoastal Villains. It combines live-action soccer footage filmed by DP Jeff Cronenweth, and CGI renderings by A52, Los Angeles, of what we might imagine to be Mia Hamm's ice-cold endoskeleton during a crucial moment on the pitch.
Shoot Magazine, Apr. 19, 2002
Top Spot of the Week: Gatorade Scores With Ice-Cold Superstar... Director Phil Joanou, Element 79 And A52 Freeze Soccer's Mia Hamm [EXTENDED COVERAGE]
"All in all this is a pretty jam-packed little :30," continued Joanou, "A52 worked extremely hard, especially on the crowd compositing: They turned 250 extras into a mass of 40,000." A52 also created a fully articulated skeleton, based on Hamm's measurements. Then the company designed particle animation to run through the network of CGI veins within the skeleton. And, of course, no recent Gatorade spot would be complete without stylized sweat designed by A52 visual effects artist/Inferno artist Simon Brewster. That took the form of the icy drips appearing on Hamm's face toward the end of the spot.
MediaPost's Out to Launch, Apr. 18, 2002
"Defining Mia" Gatorade Ice Spot
Visual effects and design company A52 has announced details of their visual effects work for the "Defining Mia" Gatorade Ice spot, which debuted this month. U.S. women's soccer star Mia Hamm takes to the field in the campaign's "Defining Mia" spot with Gatorade Ice in her veins that helps her seize a heated game's "defining moment" and score the winning shot. At that critical moment, a sequence of X-ray shots shows the Ice at work inside Mia's body. Led by visual effects supervisor and Inferno artist Simon Brewster (who is also A52's creative director), A52's team created the CGI skeleton X-ray effect, handled extensive crowd and stadium replacement and created the spot's explosive end-tag.
Animation World Network, Apr. 18, 2002
Gatorade Ice Gets Cool With Help From A52
Visual effects and design company A52 has recently completed visual effects work for the latest Gatorade Ice spot via agency Element 79 Partners and director Phil Joanou. "Defining Mia," a 30-second spot that began airing on April 1, 2002, shows U.S. soccer star Mia Hamm on the field with Gatorade Ice in her veins. While she shoots for the winning goal, a sequence of X-ray shots shows the Ice at work inside her....
Digital Journal, Apr. 16, 2002
A52 Helps Create ''Cool'' Introduction For Gatorade Ice
To launch their new Gatorade Ice product, new Chicago-based agency Element 79 Partners created a dramatic spot that stars U.S. Soccer diva Mia Hamm and on April 1 began airing the spot widely on broadcast television. The spot was directed by Phil Joanou of Villains in Beverly Hills California, and also relied on visual effects and design company A52 of West Hollywood to help realize the visually ambitious thirty-second commercial....
Animation Artist, Apr. 15, 2002
A52 Does Visual Effects for Gatorade's Defining Mia
U.S. soccer star Mia Hamm takes to the field in the campaign's "Defining Mia" spot with Gatorade Ice in her veins that helps her seize a heated game's "defining moment" and score the winning shot. During that critical moment, a sequence of X-ray shots shows the Ice at work inside Mia. Led by visual effects supervisor and Inferno artist Simon Brewster (who is also A52's creative director), A52's team created the CGI skeleton X-ray effect, handled extensive crowd and stadium replacement and created the spot's explosive end-tag....
DesignInMotion, Apr. 15, 2002
A52 Provides Cool Effects for Gatorade Ice
Visual effects and design company A52 completed visual effects work for Villains and director Phil Joanou for Element 79 Partners' fast-paced "Defining Mia," a :30 Gatorade Ice spot that debuted on April 1.
Digital Animators, Apr. 15, 2002
A52 Does Visual Effects for Gatorade's Defining Mia
U.S. soccer star Mia Hamm takes to the field in the campaign's "Defining Mia" spot with Gatorade Ice in her veins that helps her seize a heated game's "defining moment" and score the winning shot. During that critical moment, a sequence of X-ray shots shows the Ice at work inside Mia. Led by visual effects supervisor and Inferno artist Simon Brewster (who is also A52's creative director), A52's team created the CGI skeleton X-ray effect, handled extensive crowd and stadium replacement and created the spot's explosive end-tag....
Digital Post Production, Apr. 15, 2002
A52 Does Visual Effects for Gatorade's Defining Mia
U.S. soccer star Mia Hamm takes to the field in the campaign's "Defining Mia" spot with Gatorade Ice in her veins that helps her seize a heated game's "defining moment" and score the winning shot. During that critical moment, a sequence of X-ray shots shows the Ice at work inside Mia. Led by visual effects supervisor and Inferno artist Simon Brewster (who is also A52's creative director), A52's team created the CGI skeleton X-ray effect, handled extensive crowd and stadium replacement and created the spot's explosive end-tag....
Digital Producer, Apr. 15, 2002
A52 Does Visual Effects for Gatorade's Defining Mia
U.S. soccer star Mia Hamm takes to the field in the campaign's "Defining Mia" spot with Gatorade Ice in her veins that helps her seize a heated game's "defining moment" and score the winning shot. During that critical moment, a sequence of X-ray shots shows the Ice at work inside Mia. Led by visual effects supervisor and Inferno artist Simon Brewster (who is also A52's creative director), A52's team created the CGI skeleton X-ray effect, handled extensive crowd and stadium replacement and created the spot's explosive end-tag....
Film & Video Magazine, Apr. 15, 2002
A52 Does Visual Effects for Gatorade's Defining Mia
U.S. soccer star Mia Hamm takes to the field in the campaign's "Defining Mia" spot with Gatorade Ice in her veins that helps her seize a heated game's "defining moment" and score the winning shot. During that critical moment, a sequence of X-ray shots shows the Ice at work inside Mia. Led by visual effects supervisor and Inferno artist Simon Brewster (who is also A52's creative director), A52's team created the CGI skeleton X-ray effect, handled extensive crowd and stadium replacement and created the spot's explosive end-tag....
Shoot Magazine, Apr. 12, 2002
Creative Credits: Spotlets: Yessian Music Links People And Technology For Delphi
POST/VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, creative director/Inferno artist; Darcy Parsons, executive producer; Ron Cosentino, post producer; Scott Johnson, online editor; Natasha Rand, type designer.
Digital Animators, Apr. 2, 2002
Audi's "Spirit" Soars Through A52
Visual effects and design company A52 today announced details of their visual effects work for Anonymous Content and director Andrew Douglas for McKinney & Silver's groundbreaking Audi "Spirit" :60 spot which debuted on Feb. 11 and aired throughout NBC's Olympic broadcast.
SoloNews, Apr. 2, 2002
Audi's "Spirit" Soars Through A52, Anonymous Content, Andrew Douglas and McKinney & Silver Collaboration
“We had done numerous spots with color grading and visual effects for Audi over the last three years so there was already a relationship with the creatives,” explained A52’s creative director Simon Brewster who served as visual effects supervisor and Inferno artist on the spot.
VFXPro, Apr. 2, 2002
Audi 'Spirit' Soars With A52, Anonymous Content
Visual effects and design company A52 completed visual effects work for Anonymous Content and director Andrew Douglas for McKinney & Silver's :60 Audi "Spirit" spot, which debuted on February 11 and aired throughout NBC's 2002 Winter Olympics broadcasts.
DesignInMotion, Apr. 1, 2002
Design in Motion Quicktime Gallery, March 2002
Nissan Altima Launches 'Side Effects' with A52. Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25. Design in Motion previously covered the :30 "Addictive," which debuted on October 1, and "May Impair," which broke November 12. The 2002 Nissan Altima campaign is based on the tagline stating that the Altima is the cure for the common car. Its high-impact broadcast campaign relates the car's medicinal qualities -- and its physical, mental and emotional side effects. Each spot reveals a new effect before a signature sound evokes the dot-matrix din of your pharmacist's printer and prescription-bottle orange labels (designed by Brand New School) deliver the tag above the campaign's closing shot.
DesignInMotion, Apr. 1, 2002
Audi 'Spirit' Soars With A52, Anonymous Content
Visual effects and design company A52 completed visual effects work for Anonymous Content and director Andrew Douglas for McKinney & Silver's :60 Audi "Spirit" spot, which debuted on February 11 and aired throughout NBC's 2002 Winter Olympics broadcasts.
Digital Producer, Apr. 1, 2002
Audi's "Spirit" Soars Through A52
Visual effects and design company A52 today announced details of their visual effects work for Anonymous Content and director Andrew Douglas for McKinney & Silver's groundbreaking Audi "Spirit" :60 spot which debuted on Feb. 11 and aired throughout NBC's Olympic broadcast.
Film & Video Magazine, Apr. 1, 2002
Audi's "Spirit" Soars Through A52
Visual effects and design company A52 today announced details of their visual effects work for Anonymous Content and director Andrew Douglas for McKinney & Silver's groundbreaking Audi "Spirit" :60 spot which debuted on Feb. 11 and aired throughout NBC's Olympic broadcast.
American Cinematographer, March, 2002
Short Takes: A Hip Rig for a Rock Legend
The recent video for Mick Jagger's "God Gave Me Everything" features the singer moving through a wide variety of real-world locations with a camera attached to him, looking back at his face and body. Other shots feature the actress Shannyn Sossamon and the song's co-writer, Lenny Kravitz, both of whom also wear the camera.... After the shoot, visual effects company A52 did a lot of tricky cleanup work....
Digital Media Net's Acquisition & Production Magazine, March, 2002
Compositing Trends
DMN Senior Editor John B. Virata polled several compositing artists on the state of the market from an artist perspective. Those in the discussion include Simon Brewster, Visual Effects Supervisor and Inferno Artist at A52.
Post Magazine, March, 2002
SFX for Spots/Television
Detailed analysis of A52's role in handling visual effects and design for Nissan Altima Side Effects :30, featuring comments from Darcy Leslie Parsons and Rick Hassen.
Shoot Magazine, Mar. 29, 2002
Post/VFX And Music/Sound Design Briefs
A52, Los Angeles, provided visual effects for Nissan's "Side Effects," via TBWA/Chiat/Day, Los Angeles. The :30, directed by rad-ish of bicoastal Go Film, focuses on a Nissan Altima traveling down a road, giving viewers a rollercoaster-type ride, and ending with the Altima as "the cure for the common car." For A52, Simon Brewster, Mark Alan Loso and Patrick Murphy were visual effects supervisors/Inferno artists.
PostMagazine.com, Mar. 27, 2002
Spank! makes Gatorade 'Bleed'
A52 handled visual effects for "Bleed," including coloring the sweat. Executive producers were Darcy Leslie Parsons and Rick Hassen. Susan Thurmond produced for A52 and Simon Brewster served as visual effects supervisor. VFX artists Tim Bird (Inferno), Mark Alan Loso and Margeurite Cargill (Flame) also contributed. Scott Johnson conformed the online edit on a Quantel Henry.
Animation World Network, Mar. 21, 2002
A52 Lights Up With New Team
Visual effects and design company A52 has appointed a new management team and has added a new senior producer to the staff....
AdWeek, Mar. 18, 2002
Creative Coverage: Best Spots of February: Nike "Move"
The premise is simple: show the ballet of movement when people "Just do it." In 90 short seconds, this stunning spot touches on nearly every sport known to man or woman, from running to frisbee throwing. "Move" is a visual and aural masterpiece. Titles/Compositing: A52.
Shoot Magazine, Mar. 8, 2002
Street Talk
Rick Hassen has joined visual effects and design shop A52, Los Angeles, as managing director; he had previously been executive producer at Sea Level, Venice, Calif. Additionally, Darcy Lesley Parsons has been upped from producer to executive producer, and former freelancer Scott Boyajan has joined the staff of A52 as a senior producer….
Boards Online, Mar. 6, 2002
A52 GETS NEW STAFF
West Hollywood's visual effects and design company A52 announced a new management teams and senior producer. Rick Hassen, former executive producer for Sea Level in Venice, California, had been appointed managing director. A52 staff producer Darcy Leslie Parsons has been promoted to executive producer. where she will oversee business development, the bidding process and project management. Scott Boyajan joins A52 as senior producer, leaving behind a freelance career.
The Creativity E-mail, Mar. 6, 2002
Moves: A52 staffs up
Rick Hassen, formerly of Sea Level, has joined West Hollywood-based effects and design house A52 as managing director. Also at A52, Darcy Leslie Parsons has been promoted to executive producer and freelancer Scott Boyajan has signed on as senior producer.
HollywoodIndustry.com, Mar. 6, 2002
Rick Hassen Appointed Managing Director at A52
New Management team also includes Darcy Leslie Parsons as Executive Producer and Scott Boyajan as Senior Producer.
PostMagazine's Daily Newsfeed, Mar. 6, 2002
TOP STORY: VFX HOUSE A52 ADDS TO TEAM
Visual effects and design company A52 has appointed a new management team as well as added a new senior producer. For the full story, go to http://www.postmagazine.com/db/news/news.cfm?RecordID=1160
PostMagazine.com, Mar. 6, 2002
VFX house A52 adds to team
Visual effects and design company A52 has appointed a new management team as well as added a new senior producer. Rick Hassen is the studio’s new managing director, having most recently served as executive producer at the visual effects boutique Sea Level. Former A52 staff producer Darcy Leslie Parsons has been promoted to executive producer, overseeing business development, the bidding process and project management. And Scott Boyajan joins A52 as senior producer. Boyajan started his career at POP Television and has worked with Attik/SF, 3 Ring Circus and Superior Assembly.
Design In Motion, Mar. 5, 2002
New Execs and Team Members Settle In At A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
DigitalPostProduction, Mar. 5, 2002
News: Rick Hassen Appointed Managing Director at A52
New Management team also includes Darcy Leslie Parsons as Executive Producer and Scott Boyajan as Senior Producer.
Digital Producer, Mar. 5, 2002
Rick Hassen Appointed Managing Director at A52
Visual effects and design company A52 today announced the appointment of a new management team as well as the addition of a new senior producer to their staff. Rick Hassen has been appointed to the position of Managing Director, having most recently served as Executive Producer for Venice, California-based visual effects boutique Sea Level.
Film&Video Magazine, Mar. 5, 2002
Top Story: Rick Hassen Appointed Managing Director at A52
New Management team also includes Darcy Leslie Parsons as Executive Producer and Scott Boyajan as Senior Producer.
PostIndustry.com, Mar. 5, 2002
New Execs and Team Members Settle In At A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
VFXPro, Mar. 5, 2002
New Execs and Team Members Settle In At A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
Videography, Mar. 5, 2002
New Execs and Team Members Settle In At A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
DesignInMotion, Mar. 1, 2002
Design in Motion Quicktime Gallery, February 2002
A52 Adds Effects to No Doubt's 'Hey Baby'...
Shoot Magazine, Mar. 1, 2002
Top Spot of the Week: Dir. Jake Scott Puts The "Move" On Nike
The mix of professional and amateur athletes, the real and natural production, and the music combined helped to create an ad that would appeal to anyone who watched the Winter Olympics—not just to hard-core athletes and thrill-seeking teens. While ads generally target specific demographics, Nike was aiming to reach a wide audience with this spot. "We wanted to show that sport is a shared experienced," Curtis explains. "whether you're a kid on a skateboard or a pro like Vince Carter playing an NBA game." POST/VISUAL EFFECTS A52, Los Angeles. Patrick Murphy, online editor; Patrick Murphy, inferno artist; Dan Sumpter, Henry artist; Leighton Greer, producer.
Shoot Magazine, Mar. 1, 2002
TOP SPOT OF THE WEEK CREDITS March 01, 2002
A new sport-themed spot for Nike, called "Move," quietly breaks through the clutter due to its refreshing realness. Created by Wieden+Kennedy (W+K), Portland, Ore., directed by Jake Scott of bicoastal RSA USA, the ad is simply poetic. POST/VISUAL EFFECTS A52, Los Angeles. Patrick Murphy, online editor; Patrick Murphy, inferno artist; Dan Sumpter, Henry artist; Leighton Greer, producer.
Shoot Magazine, Mar. 1, 2002
Creative Showcase: Stone & Ward Build Robots For Terminix
POST: A52, Los Angeles. Scott Boyajan, producer.
Design In Motion, Feb. 28, 2002
Nissan Altima Launches 'Side Effects' with A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
PostIndustry.com, Feb. 28, 2002
Nissan Altima Launches 'Side Effects' with A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
VFXPro, Feb. 28, 2002
Nissan Altima Launches 'Side Effects' with A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
Videography, Feb. 28, 2002
Nissan Altima Launches 'Side Effects' with A52
Visual effects and design company A52 contributed visual effects work to Go Film and director Rad-ish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine spots of the campaign's ten involve A52's visual effects wizardry, and the newest of those, the :30 "Side Effects," debuted February 25....
Boards Magazine, Feb. 27, 2002
Chiat & Rad-Ish prescribe Nissan
West Hollywood visual effects house A52 composited bungee and running footage together and removed speed rails, rigs and performed other tweaks, which made the spot possible. Removing the rig responsible for the spot's 180-degree shot was another huge challenge for the team....
Boards Online, Feb. 27, 2002
CHIAT & RAD-ISH PRESCRIBE NISSAN
TBWA/Chiat/Day, Los Angeles and bicoastal Go Film directing team Rad-Ish (Moritz Friedel & Christoph Krudimak) produced "Side Effects," and the entire 2002 Nissan Altima campaign for the North American market.
See More: http://www.boardsmag.com/articles/online/20020227/radish.html?nl
eCreativeSearch News, Feb. 27, 2002
Nike "Move"
The stunning new :90 Nike spot entitled Move has an all-star cast of eCreativeSearch collaborators. Jake Scott of RSA directed for Wieden & Kennedy, Portland, with editing by Rock Paper Scissors post by A52 and sound design by Endless Noise. And a big tip of the hat to Elias Associates for the fabulous music. Full credits are on the site.
Member News
• Visual effects and design shop A52 based in West Hollywood, recently completed a series of :30 spots promoting the Fox Super Bowl 36 PreGame Show. The spots featured multiple layers of dramatic, high-contrast imagery, composited with text and other graphic elements, and promoted the scheduled live performances by U2, Paul McCartney, Mary J. Blige, and others. A52's project producer Leighton Greer orchestrated the visual effects, and the project was led by managing director Rick Hassen and executive producer Darcy Leslie-Parsons.
Film&Video Magazine, Feb. 27, 2002
A52 Cures the Common Spot with Nissan Altima Campaign
Visual effects and design studio A52 today announced new details of their visual effects work for Go Film and director Radish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign.
HollywoodIndustry.com, Feb. 27, 2002
A52 Cures the Common Spot with Nissan Altima Campaign
Visual effects and design studio A52 today announced new details of their visual effects work for Go Film and director Radish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign.
MediaPost Communications' Out to Launch, Feb. 27, 2002
A52 does Side Effects for Nissan Altima
A52 announced new details of their visual effects work for Go Film and director Rad-ish (Austrians Christoph Chrudimak and Mortiz Friedel) for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign. Nine of the campaign's ten spots involve A52's visual effects, including the newest - "Side Effects." The 2002 Nissan Altima high-impact broadcast campaign relates the car's "medicinal" qualities and its physical, mental and emotional effects. Each spot reveals some new effect before a signature sound evokes the dot-matrix din of a pharmacist's printer and prescription-bottle orange labels (courtesy of Brand New School) deliver the tag above the ad's closing shot.
Digital Animators, Feb. 25, 2002
A52 Cures the Common Spot with Nissan Altima Campaign
Visual effects and design studio A52 today announced new details of their visual effects work for Go Film and director Radish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign.
Digital Producer, Feb. 25, 2002
A52 Cures the Common Spot with Nissan Altima Campaign
Visual effects and design studio A52 today announced new details of their visual effects work for Go Film and director Radish for TBWA/Chiat/Day's new 2002 Nissan Altima "cure for the common car" campaign.
The AWN Spotlight, Feb. 14, 2002
A52 Crafts Super Bowl Spots For Fox
--> http://news.awn.com/index.php3?ltype=search&search=a52&newsitem_no=6403
Boards Magazine, Feb. 13, 2002
WK and Scott Move on Nike
...Also on tap on the post production front was West Hollywood's A52; the A52 team included producer Leighton Greer, Inferno artist Patrick Murphy and Flame artist Cari Chadwick.
Design In Motion, Feb. 13, 2002
Snapshot: A52 Adds Effects to No Doubt's 'Hey Baby'
Visual effects and broadcast design company A52 provided clean-up, color-grading and finishing for live-action elements, created 3D design elements and composited greenscreen footage into CG worlds for No Doubt's "Hey Baby" music video for FM Rocks and director Dave Meyers. "Hey Baby" is the first single from the band's upcoming Interscope Records release "Rock Steady," which hit stores on December 11. The video debuted on MTV on November 7....
Animation World Network, Feb. 11, 2002
Siggraph Examines Small Shops That Make an Impact
"Small Shop, Big Punch" is the theme of the February 12 meeting of the Los Angeles Chapter of SIGGRAPH. Featuring artists from several southern California-based boutique effects houses, the meeting aims to explore the rise of boutique CGI houses and how they manage to work alongside industry giants on blockbuster feature film and commercial effects projects. Panelists include: Denis Gauthier of A52, Tim McHugh of Area 51, David Santiago of Asylum and Max Ivins of Look! FX.
PostIndustry.com, Feb. 11, 2002
Super Bowl Kicks Off With 3ds max-Created Intro
Follow these links for more about the design work associated with the Super Bowl broadcasts:
Super Bowl XXXVI . A52 Promos Super Bowl XXXVI Pre-Game Show, February 4, 2002
Animation World Network, Feb. 8, 2002
Headline News: A52 Crafts Super Bowl Spots For Fox
Visual effects and design studio A52 recently completed work on a series of 30-second spots for the FOX network, which debuted on January 18, 2002 and counted down to February 3, 2002, Super Bowl Day. The spots promoted the scheduled live Super Bowl performances of U2, Paul McCartney, No Doubt and other artists, and featured multiple layers of high-contrast imagery composited with text and other graphic elements. A52 also provided visual effects on the spots. Each spot begins with a sequence that promotes the Bowl’s theme, "Tribute to America," then segues into a visual rundown of the performers slated to appear, where footage of the bands appears underneath their superimposed names. Detailing A52’s approach, project producer Leighton Greer explained, "We decided to take the footage of all the bands and string it together like a piece of film. This created negative space to feature the graphic type in. That way the type wasn’t directly connected to the picture but rather was in front of it. When the composited imagery turns, the type perspective changes with the picture." A52 used Inferno’s new 3D Tracker feature to add logos and text to the end-tag, where the on-air talent stands illuminated to one side of the frame. Using the Inferno’s three-dimensional space capability, A52 set up the logo and text to make it feel as if the people were part of the picture by rotating them into it. Adding light effects that turned on when the natural lights on the people turned off, added to the overall impact.
AdWeek, Feb. 4, 2002
Best Spots of the Year 2001 - Nike Freestyle
DesignInMotion, Feb. 4, 2002
A52, Asylum, Area 51, Look! FX Reps Speak Feb. 12
The Feb. 12 meeting of L.A. Chapter SIGGRAPH, themed "Small Shop, Big Punch," will explore the rise of boutique CGI houses and how they manage to work alongside industry giants on blockbuster feature film and commercial effects projects.
DesignInMotion, Feb. 4, 2002
A52 Promos Super Bowl XXXVI Pre-Game Show
A52 completed visual effects and design work for Fox Sports Net's Fox Super Bowl XXXVI Pre-Game Show, which aired on February 3. The campaign of :30 spots counting down to the big show debuted on January 18.
PostIndustry.com, Feb. 4, 2002
A52, Asylum, Area 51, Look! FX Reps Speak Feb. 12
Side Effects Software, developer of Houdini professional 3D animation software, announced sponsorship of the L.A. Chapter SIGGRAPH meeting on February 12 at the Academy of Television Arts and Sciences in North Hollywood. The "Small Shop, Big Punch" themed meeting will feature a discussion led by panelists Denis Gauthier of A52, Tim McHugh of Area 51, David Santiago of Asylum and Max Ivins of Look! FX....
PostIndustry.com, Feb. 4, 2002
A52 Promos Super Bowl XXXVI Pre-Game Show
A52 completed visual effects and design work for Fox Sports Net's Fox Super Bowl XXXVI Pre-Game Show, which aired on February 3. The campaign of :30 spots counting down to the big show debuted on January 18.
VFX Pro, Feb. 4, 2002
A52 Promos Super Bowl XXXVI Pre-Game Show
A52 completed visual effects and design work for Fox Sports Net's Fox Super Bowl XXXVI Pre-Game Show, which aired on February 3. The campaign of :30 spots counting down to the big show debuted on January 18.
VFX Pro, Feb. 1, 2001
Side Effects Sponsors SIGGRAPH
Side Effects Software announced sponsorship of the L.A. Chapter SIGGRAPH meeting on Feb. 12, to be held at the Academy of Television Arts and Sciences in North Hollywood. The meeting, built around the theme, 'Small Shop, Big Punch,' will feature artists from several esteemed southern California-based boutique effects houses such as A52, Asylum Visual Effects and Look! FX. The meeting will explore the rise of boutique CGI houses and how they manage to work alongside industry giants on blockbuster feature film and commercial effects projects.
Digital Producer, Feb. 1, 2002
Side Effects Software Sponsors Small Shop, Big Punch LA Chapter SIGGRAPH Meeting
The 'Small Shop, Big Punch' themed meeting will feature artists from several esteemed southern California-based boutique effects houses. The meeting aims to explore the rise of boutique CGI houses and how they manage to work alongside industry giants on blockbuster feature film and commercial effects projects. Panelists presenting at the meeting from A52, Asylum and Look! FX use the award-winning Houdini software as a key component of their 3D animation production pipeline.
Digital Producer, Feb. 1, 2002
A52 Does 0:30 Effects Spot for Fox's Super Bowl XXXVI PreGame Show
Visual effects and design facility A52 today announced details of their visual effects and design work for Fox Sports Net for the Fox Super Bowl XXXVI PreGame Show set for 1:30 PM EST on Sun., Feb. 3.
LA SIGGRAPH Dimension Online, Jan. 31, 2002
Los Angeles ACM SIGGRAPH Presents Small Shops, BIG PUNCH On Tuesday, February 12, 2002
We will examine the commercial and feature work of small CGI shops. Is the future in smaller, more cost effective houses? Find out what speakers from five small shops think. See samples of their work in features, commercials and music videos then draw your own conclusions.
Videography, Jan. 25, 2002
A52's 3D Design and Effects Leave Little Doubt
Let there be no doubt about the creative and distinctive style of West Hollywood-based A52's work in 3D design and graphics. A sample of the visual effects and broadcast design house's work can currently be seen on a recently completed project for FM Rocks and director Dave Meyers. The latest music video from the California-based band No Doubt--"Hey Baby," the first single from the band's newly released Interscope CD Rock Steady, features a blend of colorful CG worlds created by the artists at A52 and a high-energy performance from No Doubt band members Gwen Stefani, Tom Dumont, Tony Kanal, and Adrian Young....
Shoot Magazine, Jan. 11, 2002
Your Shot: Rick Hassen
The year 2002 is finally here—so with hope and idealism, we as a business community plow forward. Though our economy is threatened and our security has been undermined, we look to the year ahead with optimism that our industry will recover. That our colleagues and friends who are out of work will find jobs. That those who lost loved ones in the attack on Sept. 11 have found some solace amongst family and friends, and have begun to strengthen and rebuild....
Videography.com, Jan. 2, 2002
Snapshot: A52 Adds Flair to Nissan Altima Campaign
PostIndustry.com, Jan. 2, 2002
Snapshot: A52 Adds Flair to Nissan Altima Campaign
DesignInMotion, Jan. 2, 2002
Snapshot: A52 Adds Flair to Nissan Altima Campaign
Advertising Age's Creativity, Dec., 2001
Music Videos: No Doubt "Hey Baby"
Director: Dave Meyers, FM Rocks. Editor: Chris Davis, Motion Art. Effects: A52.
DesignInMotion, Dec. 14, 2001
Brief: A52 Adds Effects to No Doubt's 'Hey Baby'
A52 provided clean-up, color-grading and finishing for live-action elements, created 3D design elements and composited greenscreen footage into CG worlds for No Doubt's "Hey Baby" music video for FM Rocks and director Dave Meyers.
PostIndustry.com, Dec. 14, 2001
Brief: A52 Adds Effects to No Doubt's 'Hey Baby'
A52 provided clean-up, color-grading and finishing for live-action elements, created 3D design elements and composited greenscreen footage into CG worlds for No Doubt's "Hey Baby" music video for FM Rocks and director Dave Meyers.
VFXPro, Dec. 14, 2001
Brief: A52 Adds Effects to No Doubt's 'Hey Baby'
A52 provided clean-up, color-grading and finishing for live-action elements, created 3D design elements and composited greenscreen footage into CG worlds for No Doubt's "Hey Baby" music video for FM Rocks and director Dave Meyers.
Animation World Network, Dec. 12, 2001
Television: A52 Rocks Steady with No Doubt
...A52 CGI team also created the undulating 3D houndstooth surface, which along with the other 3D backgrounds was created using Silicon Grail Chalice software, animated and lit in Side Effects Software's Houdini and composited in Chalice, all running on SGI Octane workstations. The animations were rendered on SGI Origin 2000 via Pixar's Renderman.
Music Video Wire, Dec. 11, 2001
A52 Gives Everything to New Mick Jagger Music Video
Visual effects and broadcast design powerhouse A52 today announced details of their visual effects work for Anonymous Content and director Mark Romanek for Mick Jagger’s popular new music video for his Lenny Kravitz co-written single “God Gave Me Everything.”
Animation Artist, Dec. 6, 2001
Hidden Cameras: A52 removes cameras, repaints backgrounds for new Mick Jagger video
As Mick Jagger winds his way through various L.A. locations in his new music video "God Gave Me Everything," viewers watch from a fixed perspective gazing up at him. What they don't see are a special camera rig used for the intercut wide-angle one-shots of actress Shannyn Sossamon, song co-writer Lenny Kravitz and Jagger, which were removed by visual effects/broadcast design firm A52.
Digital Post Production, Dec. 6, 2001
Hidden Cameras: A52 removes cameras, repaints backgrounds for new Mick Jagger video
As Mick Jagger winds his way through various L.A. locations in his new music video "God Gave Me Everything," viewers watch from a fixed perspective gazing up at him. What they don't see are a special camera rig used for the intercut wide-angle one-shots of actress Shannyn Sossamon, song co-writer Lenny Kravitz and Jagger, which were removed by visual effects/broadcast design firm A52.
CG Channel, Dec. 5, 2001
Hidden Cameras: A52 removes cameras, repaints backgrounds for new Mick Jagger video
Digital Animators. More.
Digital Animators, Dec. 5, 2001
Hidden Cameras: A52 removes cameras, repaints backgrounds for new Mick Jagger video
As Mick Jagger winds his way through various L.A. locations in his new music video "God Gave Me Everything," viewers watch from a fixed perspective gazing up at him. What they don't see are a special camera rig used for the intercut wide-angle one-shots of actress Shannyn Sossamon, song co-writer Lenny Kravitz and Jagger, which were removed by visual effects/broadcast design firm A52.
eCreativeSearch News, Dec. 5, 2001
Member News: A52
Los Angeles-based A52 sure have been busy lately. If you want proof, just look at the the visual effects work they did for director Mark Romanek on Mick Jagger’s new music video for his Lenny Kravitz co-written single "God Gave Me Everything." In the video, viewers see wide-angle one-shots of actress Shannyn Sossamon, Jagger or Kravitz intercut as each moves through various Los Angeles locations from a fixed perspective that mostly gazes up at them. What they don’t see are A52’s efforts--which involved removing a special camera rig mounted directly on the star, and repainting wardrobe and backgrounds in nearly ninety shots. The A52 staff artists, along with an impressive group of freelance visual effects artists, produced well over 300 man-hours worth of artistry in less than five days.
Music Industry News Network, Dec. 4, 2001
A52 Gives Everything To New Mick Jagger Music Video From Mark Romanek
Visual effects and broadcast design powerhouse A52 today announced details of their visual effects work for Anonymous Content and director Mark Romanek for Mick Jagger’s popular new music video for his Lenny Kravitz co-written single “God Gave Me Everything.”
eCreativeSearch News, Nov. 28, 2001
Member News: A52
Visual effects and broadcast design powerhouse A52 recently created the 3D design and visual effects work for FM Rocks director Dave Meyers for No Doubt's "Hey Baby" music video. FM Rocks' project producer Ron Mohrhoff cited A52's enthusiasm and their creative vision as prime reasons for their selection. Patrick Murphy and A52's full complement of VFX artists provided the company's signature clean-up, color-grading and finishing for live-action elements, but also incorporated the high-impact 3D design elements created by A52's award-winning CGI team.
Digital Animators, Nov. 26, 2001
Dave Meyers' Music Video for No Doubt Features CGI Talents from A52
Visual effects and broadcast design powerhouse A52 today announced details of their 3D design and visual effects work for FM Rocks and director Dave Meyers for No Doubt’s music video for their new single, “Hey Baby.”
Digital Post Production, Nov. 26, 2001
Dave Meyers' Music Video for No Doubt Features CGI Talents from A52
Visual effects and broadcast design powerhouse A52 today announced details of their 3D design and visual effects work for FM Rocks and director Dave Meyers for No Doubt’s music video for their new single, “Hey Baby.”
Digital Producer, Nov. 20, 2001
Hey Baby
Visual effects and broadcast design powerhouse A52 today announced details of their 3D design and visual effects work for FM Rocks and director Dave Meyers for No Doubt’s music video for their new single, “Hey Baby.”
DesignInMotion Digest, Nov. 19, 2001
A52 Adds Flair to Nissan Altima Campaign
Music Video Wire, Nov. 18, 2001
No Doubt, A52 VFX & Dave Meyers
Visual effects and broadcast design powerhouse A52 today announced details of their 3D design and visual effects work for FM Rocks and director Dave Meyers for No Doubt’s music video for their new single, “Hey Baby.”
Post Magazine, Nov. 16, 2001
Nissan's 'cure' comes from A52
Nissan's new multi-spot campaign for its Altima mid-sized car incorporates visual effects work from design house A52.
Boards Online, Nov. 15, 2001
Nissan delivers the cure for the common car
New spots for Nissan directed by Rad-ish out of Go Film via TBWA\Chiat\Day employ the visual stylings of Hollywood-based effects house A52.
VFXPro, Nov. 15, 2001
Brief: A52 Adds Flair to Nissan Altima Campaign
Visual effects and broadcast design company A52 announced details of the visual effects work it completed for Go Film and director Rad-ish (Austrians Christoph Chrudimak and Mortiz Friedel) for TBWA/Chiat/Day's 2002 Nissan Altima campaign, dubbed "The cure for the common car."
DesignInMotion, Nov. 15, 2001
Brief: A52 Adds Flair to Nissan Altima Campaign
Visual effects and broadcast design company A52 announced details of the visual effects work it completed for Go Film and director Rad-ish (Austrians Christoph Chrudimak and Mortiz Friedel) for TBWA/Chiat/Day's 2002 Nissan Altima campaign, dubbed "The cure for the common car."
eCreativeSearch News, Nov. 14, 2001
Member News: A52
A52's got a cure for what ails ya: They created the stunning visual effects for the first spots in the new 2002 Nissan Altima campaign, "The Cure For the Common Car." The spots, through TBWA/Chiat/Day, Los Angeles, were produced by Go Film, NY and directed by the Austrian duo Rad-ish. Patrick Murphy served as visual effects supervisor and Inferno artist on “Addictive,” and Adam Pertofsky at Rock Paper Scissors edited the spot. Mark Loso created the visual effects on "May Impair," which broke on November 12. Stay tuned--the next dose will be hitting the air soon.
AdCritic.com, Nov. 1, 2001
What's New and Cool: Nike Freestyle Soccer
REALVIZ.com, Nov. 1, 2001
Showcase ReTimer: A52
Lincoln Blackwood Case Study for ReTimer software.
American Cinematographer Magazine, Oct., 2001
An Ode to Teamwork
Ford's new campaign blends stylish photography and post effects.
Post Magazine, Oct., 2001
Art of the Pitch: A52 Makes the Invisible Look Effortless
Design house A52 has carved out its own niche of providing high-end imagery and effects that look like they happened within the photography. Agency clients and music video producers go there for the invisible effects or performance....
VFXPro Weekly, Oct. 31, 2001
A52 Designs 'Lincoln Blackwood' Spot
eCreativeSearch News, Oct. 24, 2001
Seems Like Everyone's a Member These Days
It's a small world. As eCreativeSearch expands, it's more often we find that several of our members work on the same projects. Take the recent spot from Dell, "I Am," for example. The director, Andrew Becker, the production company, Stiefel + Company, the post house, Cosmo Street, and the visual effects company, A52, are all members. We think that's pretty darn cool.
Digital Producer, Oct. 18, 2001
How A52 Helped Lance Acord Deliver The Moon For Volvo
Turning Day Into Night With The Help Of Digital Tools...
VFXPro Daily, Oct. 17, 2001
A52 Delivers the 'Moon' for Volvo
Visual effects and broadcast design company A52 added extensive "invisible" effects to the commercials in Volvo's five-spot Cross-Country Campaign that debuted nationally on September 5. Link.
DesignInMotion Daily, Oct. 16, 2001
A52 Delivers the 'Moon' for Volvo
Visual effects and broadcast design company A52 added extensive "invisible" effects to the commercials in Volvo's five-spot Cross-Country Campaign that debuted nationally on September 5. Link.
DesignInMotion, Oct. 15, 2001
A52 Delivers the 'Moon' for Volvo
Visual effects and broadcast design company A52 added extensive "invisible" effects to the commercials in Volvo's five-spot Cross-Country Campaign that debuted nationally on September 5.
eCreativeSearch News, Oct. 10, 2001
Member News
And speaking of visual effects, A52's project team, led by Liz Roewe and Leighton Greer, recently finished some nifty work for the new Volvo Cross Country s70/s80 campaign which has been airing nationally since last month. Park Pictures director Lance Acord helmed the spot which features effects of the cars soaring over the stark Bonneville Salt Flats.
DigitalJournal, Oct. 10, 2001
A52 Helps Lance Acord Deliver The Moon For Volvo
Viewers may be surprised to note that director Lance Acord of New York's Park Pictures shot the travelling car footage during the daytime, relying on West Hollywood-based visual effects and broadcast design company A52 to color-grade the footage and composite-in and effect all the other elements - including sky, mountain textures, water and moon, as well as the hero car's head and tail lights and its overall lighting, shadowing and reflections.
DigitalPostProduction, Oct. 10, 2001
How A52 Helped Lance Acord Deliver The Moon For Volvo
Turning Day Into Night With The Help Of Digital Tools...
AdCritic.com, Oct. 10, 2001
What's New and Cool: Lincoln Blackwood
You'd be impressed too if your car came to pick you up in the rain. And who knew trucks had such an effect on fish?
VFXPro, Oct. 8, 2001
Snapshot: A52 Designs Lincoln 'Blackwood' Spot
Broadcast design studio A52 provided design, visual effects and a magical flying fish for "Lincoln Blackwood," a :60 spot promoting Lincoln's limited edition luxury sport utility vehicle that debuted at the end of August.
DesignInMotion, Oct. 8, 2001
Snapshot: A52 Designs Lincoln 'Blackwood' Spot
Broadcast design studio A52 provided design, visual effects and a magical flying fish for "Lincoln Blackwood," a :60 spot promoting Lincoln's limited edition luxury sport utility vehicle that debuted at the end of August.
PostIndustry, Oct. 8, 2001
Snapshot: A52 Designs Lincoln 'Blackwood' Spot
Broadcast design studio A52 provided design, visual effects and a magical flying fish for "Lincoln Blackwood," a :60 spot promoting Lincoln's limited edition luxury sport utility vehicle that debuted at the end of August.
Shoot Magazine, Oct. 5, 2001
Spotlight: A52 is Mystical for Lincoln
POST/VISUAL EFFECTS: A52, Los Angeles. Liz Roewe, executive producer; Darcy Leslie-Parsons, producer; Simon Brewster, visual effects supervisor/Inferno artist; Michael Gibson, on-set visual effects supervisor; Denis Gauthier, 3-D supervisor/3-D animator; Scott Johnson, online editor; Jeff Willette and Westley Sarokin, 3-D animator.
Boards Magazine, Oct. 2, 2001
Sheet Metal Porn: Lincoln Blackwood - USA
This month, Boards slices into that top-dollar segment of advertising: automotive.
eCreativeSearch News, Sep. 26, 2001
Member News
Thanks to visual effects and broadcast design house A52, those tuned in to the recent U.S. Open tennis tournament got a transcendent taste of the new Lincoln Blackwood-Lincoln's limited edition sport utility luxury truck. A52's visual effects supervisor and inferno artist Simon Brewster combined CGI, live action and graphic design to create a surreal, mystical moment involving a flying fish and a mountain wilderness.
AdCritic.com, Sept. 25, 2001
New Ads This Week: Lincoln Blackwood
Shoot Magazine, Sept. 21, 2001
Spotlight: Gatorade Sustain
POST/VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, colorist/Inferno artist; Scott Johnson, online editor; Mark Loso, Inferno artist.
DesignInMotion, Sept. 10, 2001
Brief: A52 Designs 'Lincoln Blackwood' Spot
Broadcast design studio A52 provided design, visual effects and a magical flying fish for "Lincoln Blackwood," a :60 spot promoting Lincoln's limited edition luxury sport utility vehicle that debuted at the end of August.
PostIndustry, Sept. 10, 2001
Brief: A52 Designs 'Lincoln Blackwood' Spot
Broadcast design studio A52 provided design, visual effects and a magical flying fish for "Lincoln Blackwood," a :60 spot promoting Lincoln's limited edition luxury sport utility vehicle that debuted at the end of August.
VFXPro, Sept. 10, 2001
Brief: A52 Designs 'Lincoln Blackwood' Spot
Broadcast design studio A52 provided design, visual effects and a magical flying fish for "Lincoln Blackwood," a :60 spot promoting Lincoln's limited edition luxury sport utility vehicle that debuted at the end of August.
DesignInMotion, Sep. 2, 2001
Snapshot: A52 Contributes Effects to Infiniti Q45 Campaign
Visual effects and broadcast design company A52 contributed visual effects work to TBWA/Chiat/Day's new Infiniti Q45 campaign, which features the :30 spots "Speed Effect," "Rear View" and "Power of Speech."
VFXPro, Sep. 2, 2001
Snapshot: A52 Contributes Effects to Infiniti Q45 Campaign
Visual effects and broadcast design company A52 contributed visual effects work to TBWA/Chiat/Day's new Infiniti Q45 campaign, which features the :30 spots "Speed Effect," "Rear View" and "Power of Speech."
PostIndustry, Sep. 2, 2001
Snapshot: A52 Contributes Effects to Infiniti Q45 Campaign
Visual effects and broadcast design company A52 contributed visual effects work to TBWA/Chiat/Day's new Infiniti Q45 campaign, which features the :30 spots "Speed Effect," "Rear View" and "Power of Speech."
DigitalJournal, Aug. 23, 2001
Design Shop A52 Helps Render Q45’s New Reality
West Hollywood-based visual effects and broadcast design company A52 recently detailed their visual effects work for Anonymous Content and director Andrew Douglas for TBWA/Chiat/Day LA’s new Infiniti Q45 campaign, which features the “Speed Effect,” “Rear View” and “Power of Speech” :30 spots which are currently airing nationwide. The first of the spots broke in April.
EditorsNet, Aug. 20, 2001
Interview With Angus Wall, Editor, A Perfect Circle's 'Judith'
The only way to do that was digitally, so we got Dan Sumpter and Patrick Murphy at A52 to create a bunch of distressed film elements, scratches and light leaks -- that kind of thing. That all got added in the Inferno and in the Henry. If you did it optically, if you did it on film, you wouldn't have the level of control you need to visually hit all of the musical pieces that need to be hit. Initially, they tried converting the waveform of the audio track into motion data to perfectly sync the visual hits, but it was way too mechanical, so they just did it all by hand. Those guys did an amazing job...
DesignInMotion, Aug. 20, 2001
Interview With Angus Wall, Editor, A Perfect Circle's 'Judith'
The only way to do that was digitally, so we got Dan Sumpter and Patrick Murphy at A52 to create a bunch of distressed film elements, scratches and light leaks.... Those guys did an amazing job...
PostIndustry, Aug. 20, 2001
Interview With Angus Wall, Editor, A Perfect Circle's 'Judith'
The only way to do that was digitally, so we got Dan Sumpter and Patrick Murphy at A52 to create a bunch of distressed film elements, scratches and light leaks.... Those guys did an amazing job...
VFXPro, Aug. 20, 2001
Interview With Angus Wall, Editor, A Perfect Circle's 'Judith'
The only way to do that was digitally, so we got Dan Sumpter and Patrick Murphy at A52 to create a bunch of distressed film elements, scratches and light leaks.... Those guys did an amazing job...
Animation World Network, Aug. 16, 2001
A52 Livens Up Three New Infiniti Q45 Spots
Visual effects and broadcast design company A52 contributed visual effects work to TBWA/Chiat/Day's new Infiniti Q45 campaign, which features the :30 spots "Speed Effect," "Rear View" and "Power of Speech."
VFXPro, Aug. 10, 2001
Brief: A52 Contributes Effects to Infiniti Q45 Campaign
Visual effects and broadcast design company A52 contributed visual effects work to TBWA/Chiat/Day's new Infiniti Q45 campaign, which features the :30 spots "Speed Effect," "Rear View" and "Power of Speech."
PostIndustry, Aug. 10, 2001
Brief: A52 Contributes Effects to Infiniti Q45 Campaign
Visual effects and broadcast design company A52 contributed visual effects work to TBWA/Chiat/Day's new Infiniti Q45 campaign, which features the :30 spots "Speed Effect," "Rear View" and "Power of Speech."
DesignInMotion, Aug. 10, 2001
Brief: A52 Contributes Effects to Infiniti Q45 Campaign
Visual effects and broadcast design company A52 contributed visual effects work to TBWA/Chiat/Day's new Infiniti Q45 campaign, which features the :30 spots "Speed Effect," "Rear View" and "Power of Speech."
PostIndustry, Aug. 10, 2001
Snapshot: A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Hollywood's Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots, which broke nationwide in April.
DesignInMotion, Aug. 10, 2001
Snapshot: A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Hollywood's Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots, which broke nationwide in April.
DesignInMotion Daily, July 17-20, 2001
A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots. Link.
VFXPro Daily, July 17-19, 2001
A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots. Link.
PostIndustry Daily, July 17, 2001
A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots. Link.
PostIndustry, July 17, 2001
Brief: A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots.
VFXPro, July 17, 2001
Brief: A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots.
VFXPro, July 17, 2001
Production News
Visual effects and broadcast design company A52 recently detailed their visual effects work for Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots. Link.
DesignInMotion, July 16, 2001
Brief: A52 Artists Unleash 'Geyser' for Ford Explorer
Visual effects and broadcast design company A52 recently detailed their visual effects work for Hollywood's Bruce Dowad Associates and director Robert Logevall for J. Walter Thompson Detroit's Ford "Geyser" :15 and :30 spots, which broke nationwide in April.
DesignInMotion, July 13, 2001
2001 BDA Award Winners Announced
A52 managing director and executive producer Liz Roewe announced several recent honors for her team. Link.
VFXPro, July 13, 2001
2001 BDA Award Winners Announced
A52 managing director and executive producer Liz Roewe announced several recent honors for her team.
VFXPro, July 13, 2001
BDA 2001 Other Design Awards
On-Air Commercial Advertisement: "Participate" for Experience Music Project, Gold
Film Title Open: "Sunset Strip" A52, Bronze
VFXPro, July 13, 2001
BDA 2001 News and Sports On-Air Design Awards
Sports, Topical Promo, :30 or Less: Fox Sports "MLB", Silver
Music Industry News Network, July 18, 2001
Award*-Winning A52 Artists Unleash "Geyser" For Ford Explorer
*Most Recent Nods Include Top AICP & BDA Honors .
Shoot Magazine, June 22, 2001
A52 Lights Up Novell
POST/VISUAL EFFECTS: A52, Los Angeles. Mark Loso, compositing supervisor/Flame artist/online editor; Denis Gauthier, 3-D lead artist/supervisor; Patrick Murphy, Inferno artist/colorist/online editor; Jeff Willette and Westley Sorokin, 3-D animators; Liz Roewe, executive producer; Leighton Greer, producer.
Post Magazine, May, 2001
Burst of Energy
Hollywood visual effects and design facility A52 provided design and visual effects for Chelsea Pictures director Mehdi Norowzian's new Broadwing campaign,featuring Dennis Hopper.
DesignInMotion Daily, May 30, 2001
Feature Story: A52 Lights Up Novell "Fireflies" Spot
Visual effects and broadcast design company A52 provided 3D and 2D design and visual effects work for "Fireflies," a :30 Novell television spot that began airing across the United States on March 7. Link.
VFXPro Daily, May 10, 2001
A52 Lights Up Novell "Fireflies" Spot
Visual effects and broadcast design company A52 provided 3D and 2D design and visual effects work for "Fireflies," a :30 Novell television spot that began airing across the United States on March 7. Link.
TimeLine Newsletter, May 10, 2001
A52 Lights Up Novell
Visual effects and broadcast design company A52 provided 3D and 2D design and visual effects work for "Fireflies," a :30 Novell television spot that began airing across the United States on March 7. Link.
DesignInMotion Daily, May 10, 2001
A52 Lights Up Novell "Fireflies" Spot
Visual effects and broadcast design company A52 provided 3D and 2D design and visual effects work for "Fireflies," a :30 Novell television spot that began airing across the United States on March 7. Link.
Video Systems, May 9, 2001
A52 Lights Up Novell
Visual effects and broadcast design powerhouse A52 has announced details of their 3D and 2D design and visual effects work for Crash Films and director Nancy Bardawill for SicolaMartin’s :30 Novell “Fireflies” spot which has been airing nationwide since early March.
VFXPro, May 9, 2001
A52 Lights Up Novell "Fireflies" Spot
Visual effects and broadcast design company A52 provided 3D and 2D design and visual effects work for "Fireflies," a :30 Novell television spot that began airing across the United States on March 7.
Millimeter, May 9, 2001
A52 Lights Up Novell
Visual effects and broadcast design powerhouse A52 has announced details of their 3D and 2D design and visual effects work for Crash Films and director Nancy Bardawill for SicolaMartin’s :30 Novell “Fireflies” spot which has been airing nationwide since early March.
Digital Post Production, May 9, 2001
A52 Lights Up Novell
Visual effects and broadcast design powerhouse A52 has announced details of their 3D and 2D design and visual effects work for Crash Films and director Nancy Bardawill for SicolaMartin’s :30 Novell Fireflies spot which has been airing nationwide since early March.
DesignInMotion, May 9, 2001
A52 Lights Up Novell "Fireflies" Spot
Visual effects and broadcast design company A52 provided 3D and 2D design and visual effects work for "Fireflies," a :30 Novell television spot that began airing across the United States on March 7.
AV Video / Multimedia Producer, May 9, 2001
A52 Lights Up Novell
Visual effects and broadcast design powerhouse A52 has announced details of their 3D and 2D design and visual effects work for Crash Films and director Nancy Bardawill for SicolaMartin’s :30 Novell “Fireflies” spot which has been airing nationwide since early March.
Shoot Magazine, May 4, 2001
McKinney & Silver Travels for Audi
Three :30s position the Audi allroad as the definitive vehicle for all of life's journeys. "Earth," "Road" and "Sky" consist of a series of journal entries recorded by an Audi allroad quattro owner. POST/VISUAL EFFECTS: A52, Los Angeles. Scott Johnson, online editor; Simon Brewster, visual effects supervisor.
Creative Review, Apr, 2001
Monitor: Broadwing "IP Love"
Boards Online, Apr. 23, 2001
Screening Room: Cadillac "Moments"
Cadillac was there when the American dream became reality. As its title suggests, "Moments" documents classic Cadillac models that drove alongside America's most memorable moments. The spot then moves into contemporary times as we witness Cadillac's latest fusion of design and technology. Visual Effects Company: A52. Producers, Jessica Stockton and Leighton Greer. Exec. Producer, Liz Roewe. Inferno Artist, Patrick Murphy. Infinity Artist, Dan Sumpter. Flame Artist, Mark Loso.
DMN TV, Week of Apr. 13, 2001
Screening Room: Toyota Tundra
Post Magazine, Apr. 3, 2001
A52 delivers Broadwing's Love Child
Hollywood visual effects and design facility A52 provided design and visual effects for Chelsea Pictures director Mehdi Norowzian's new Broadwing campaign, which features Dennis Hopper.
VFXPro Daily, Apr. 2, 2001
Production News: A52 Brings Graphics to Broadwing's Love Child
Visual effects and broadcast design company A52 was contracted by agency Hill, Holliday, Connors, Cosmopulos to provide design and visual effects services for fiber optic network Broadwing's four-spot television campaign.
Creative Review, Mar, 2001
Monitor: Nike "Freestyle"
VFXPro, Mar. 30, 2001
Production News: A52 Brings Graphics to Broadwing's Love Child
Visual effects and broadcast design company A52 was contracted by agency Hill, Holliday, Connors, Cosmopulos to provide design and visual effects services for fiber optic network Broadwing's four-spot television campaign.
DesignInMotion Daily, Mar. 30, 2001
A52 Brings Graphics to Broadwing's Love Child
Visual effects and broadcast design company A52 was contracted by agency Hill, Holliday, Connors, Cosmopulos to provide design and visual effects services for fiber optic network Broadwing's four-spot television campaign.
Film&Video, Mar. 30, 2001
A52 Collaborates with Director Mehdi Norowzian to Deliver Broadwing's Love Child
VideoSystems, Mar. 30, 2001
A52 Collaborates with Director Mehdi Norowzian to Deliver Broadwing's Love Child
Millimeter, Mar. 30, 2001
A52 Collaborates with Director Mehdi Norowzian to Deliver Broadwing's Love Child
Shoot Magazine, Mar. 30, 2001
Dir. Becker Signs With Stiefel+Co.
Becker collaborated with Los Angeles-based visual effects studio and design boutique A52 for the Uunet ads, which feature painterly tableaux in exotic locations composited from stock footage and original images shot against bluescreen.
DesignInMotion, Mar. 29, 2001
A52 Brings Graphics to Broadwing's Love Child
Visual effects and broadcast design company A52 was contracted by agency Hill, Holliday, Connors, Cosmopulos to provide design and visual effects services for fiber optic network Broadwing's four-spot television campaign.
Shoot Magazine, Mar. 16, 2001
Top Spot of the Week: Nike And HSI's Paul Hunter Go Freestyling
Rock Paper Scissors, Los Angeles.Adam Pertofsky, editor; Val Thrasher, assistant editor; Linda Carlson, executive producer; Tatiana Vasquez, producer.• VISUAL EFFECTS •A52, Los Angeles.Patrick Murphy, visual effects supervisor/Inferno artist; Ben Looram, Inferno assistant; Ali Leventhal, Flame artist; Liz Roewe, executive producer; Jessica Stockton and Darcy Leslie Parsons, producers.
AdWeek, Mar. 12, 2001
Barbara Lippert's critique: Sound System; Nike fuses hip-hop, basketball into art
It's the depth of talent that makes the difference. "Freestyle" is visually pure and true and beautifully edited.
AdWeek, Mar. 12, 2001
Best Spots of February: Nike "Freestyle"
Editor: Adam Pertofsky, Rock Paper Scissors.
Shots.net, Mar. 9, 2001
Squeak Feet for Nike
"Editor Adam Perofsky from Rock Paper Scissors had to go through hours of footage to keep the spot on rhythm so all the action happens on the beat... [to] make the spot hypnotising to watch."
Boards Magazine, Mar 8, 2001
Screening Room: Nike "Freestyle"
VFXPro, March 7, 2001
Gibson Signs with DAA
Working as a freelancer, Gibson has logged more than two dozen assignments over the past 21 months, collaborating with visual effects houses such as A52 and Method. Gibson typically functions as a visual effects supervisor, representing the visual effects house on set or on location.
Post Magazine, Mar. 1, 2001
Rock Paper Scissors Cuts Nike Campaign
West Hollywood editorial facility Rock Paper Scissors (RPS) recently completed work on a Nike Basketball campaign featuring various NBA all-stars plus street players making music out of basketball dribbling, handling and passing.
Millimeter, Mar. 1, 2001
Rock Paper Scissors' Adam Pertofsky Cuts to the Bounce for Nike
Film&Video, Feb. 27, 2001
Rock Paper Scissors' Adam Pertofsky Cuts to the Bounce for Nike
Video Systems, Feb. 27, 2001
Rock Paper Scissors' Adam Pertofsky Cuts to the Bounce for Nike
EditorsNet, Feb. 27, 2001
Pertofsky Just Cuts It for Nike
Shoot Magazine, Feb. 16, 2001
Boxer Gets Virtual For NYSE
VISUAL EFFECTS: A52, Los Angeles. Simon Brewster, lead Inferno artist; Scott Johnson, composite/Henry artist; Natasha Rand, graphic artist; Darcy Leslie Parsons, executive producer.
Advertising Age's Creativity, Feb. 1, 2001
How'd They Do That Spot? Adidas "Speed"
A52 provided visual effects work for director Andrews Jenkins, for Whatya Think and Red Button’s new Adidas campaign.
Shoot Magazine, Jan. 12, 2001
GS&P Has A TiVo Itch
EDITORIAL: Rock Paper Scissors, Los Angeles. Adam Pertofsky, editor; Chris Immel, assistant editor; Tatiana Vasquez, producer. VISUAL EFFECTS: A52, Los Angeles. Dan Sumpter, lead Henry Infinity artist/ online editor; Scott Johnson and Lisa Tomei, Henry Infinity artists/online editors; Leighton Greer, visual effects producer; and Westley Sarokin, CGI artist, "Golf."
American Cinematographer Magazine, Jan, 2001
Story on Wallflowers Sleepwalker Music Video
A52 completed visual effects work for the Wallflowers’ music video "Sleepwalker," directed by Mark Romanek of Anonymous Content and lensed by Jeff Cronenweth.
The Wallflowers Network, Jan, 2001
Short Takes: A Reluctant Rock Star
American Cinematographer - The International Journal of Film & Digital Production Techniques 82:1 (p.115-116, 118).
Post Magazine, Dec. 28, 2000
A52 creates effects for Adidas campaign
A52 provided visual effects work for director Andrews Jenkins, for Whatya Think and Red Button’s new Adidas campaign, which features LA Lakers’ star Kobe Bryant in a series of :30 spots — "Speed," "Style," "Poetry" and "Italy."
Post Magazine's Daily Newsfeed, Dec. 28, 2000
A52 CREATES EFFECTS FOR ADIDAS CAMPAIGN
A52 provided visual effects work for director Andrews Jenkins, for Whatya Think and Red Button’s new Adidas campaign, which features LA Lakers’ star Kobe Bryant in a series of :30 spots — "Speed," "Style," "Poetry" and "Italy." For the full story, go to http://www.postmagazine.com/db/news/504.htm.
The Animation World Network SPOTLIGHT, Dec. 21, 2000
A52 Rains Color Into Audi Spot
Visual effects powerhouse A52 recently rained color into Audi's "Rain" commercial. We talked to Simon Brewster and Liz Roewe to find out how...
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DigitalMediaNet Newsletter, Dec. 21, 2000
Emerging Stiefel & Company Director Andrews Jenkins Enlists A52 for Most Successful Adidas Campaign To Date
Link.
VFXPro Daily, Dec. 21, 2000
adidas Showcases Kobe Bryant With A52
Visual effects and broadcast design company A52 provided visual effects for the newest adidas campaign, which creatively reveals Los Angeles Lakers star Kobe Bryant in a series of four :30 spots...
Design In Motion Daily, Dec. 21, 2000
adidas Showcases Kobe Bryant With A52
Visual effects and broadcast design company A52 provided visual effects for the newest adidas campaign, which creatively reveals Los Angeles Lakers star Kobe Bryant in a series of four :30 spots...
VFXPro, Dec. 20, 2000
adidas Showcases Kobe Bryant With A52
Visual effects and broadcast design company A52 provided visual effects for the newest adidas campaign, which creatively reveals Los Angeles Lakers star Kobe Bryant in a series of four :30 spots...
Visual Magic Magazine, Dec. 20, 2000
A52 Rains Color Into Audi Spot
Visual effects and broadcast design company A52 provided visual effects for the newest adidas campaign, which creatively reveals Los Angeles Lakers star Kobe Bryant in a series of four :30 spots...
Design in Motion, Dec. 20, 2000
adidas Showcases Kobe Bryant With A52
Visual effects and broadcast design company A52 provided visual effects for the newest adidas campaign, which creatively reveals Los Angeles Lakers star Kobe Bryant in a series of four :30 spots...
Film&Video, Dec. 19, 2000
Emerging Stiefel & Company Director Andrews Jenkins Enlists A52 for Most Successful Adidas Campaign To Date
Visual effects and broadcast design powerhouse A52 today announced details of their visual effects work for director Andrews Jenkins, Stiefel & Company and Food Chain Films for Whatya Think and Red Button’s newest Adidas campaign, which creatively reveals Los Angeles Lakers’ star Kobe Bryant in a series of :30 spots entitled “Speed,” “Style,” “Poetry” and “Italy.”
VFXPro Daily, Dec. 1, 2000
A52's Simon Brewster Plays in Audi 'Rain'
Director Mehdi Norowzian and Chelsea Pictures turned to visual effects and broadcast design studio A52 to create visual effects for McKinney & Silver's Audi "Rain" spot.
Design In Motion Daily, Dec. 1, 2000
A52's Simon Brewster Plays in Audi 'Rain'
Director Mehdi Norowzian and Chelsea Pictures turned to visual effects and broadcast design studio A52 to create visual effects for McKinney & Silver's Audi "Rain" spot.
VFXPro, Nov. 30, 2000
A52's Simon Brewster Plays in Audi 'Rain'
Director Mehdi Norowzian and Chelsea Pictures turned to visual effects and broadcast design studio A52 to create visual effects for McKinney & Silver's Audi "Rain" spot.
Design in Motion, Nov. 30, 2000
A52's Simon Brewster Plays in Audi 'Rain'
Director Mehdi Norowzian and Chelsea Pictures turned to visual effects and broadcast design studio A52 to create visual effects for McKinney & Silver's Audi "Rain" spot.
DigitalMediaNet Renders Newsletter, Nov. 30, 2000
A52 Rains on Audi
...“Fortunately, “ Brewster explained, “one of the great things about the Inferno is you can do as many color corrections at the same time through as many different masks as necessary; you’re not limited in any sense to how deep or complex you can make the colors.” Link.
Digital Animators, Nov. 27, 2000
A52 Rains on Audi
...“Fortunately, “ Brewster explained, “one of the great things about the Inferno is you can do as many color corrections at the same time through as many different masks as necessary; you’re not limited in any sense to how deep or complex you can make the colors.”
DigitalMediaNet Newsletter, Nov. 22, 2000
A52's Simon Brewster Plays In Audi "Rain" For McKinney & Silver
Chelsea Pictures' Mehdi Norowzian Creates Rich Spot Combining Brewster's Color-Grading with B/W Imagery. Link.
Video Systems, Nov. 20, 2000
A52's Simon Brewster Plays In Audi "Rain" For McKinney & Silver
Visual effects and broadcast design powerhouse A52 today announced details of their visual effects work for director Mehdi Norowzian and Chelsea Pictures for McKinney & Silver's Audi "Rain" spot.
Post Magazine, Nov. 20, 2000
A52 produces visual effects for Audi spot
...A52’s visual effects supervisor and Inferno artist Simon Brewster’s blended color and black-and-white cinematography lensed by ICM’s Zubin Mistery....
Post Magazine's Daily Newsfeed, Nov. 20, 2000
A52 PRODUCES VISUAL EFFECTS FOR AUDI SPOT
Visual effects and broadcast design house A52 completed visual effects work for director Mehdi Norowzian and Chelsea Pictures for McKinney & Silver’s Audi "Rain" spot.
For the full story, go to http://www.postmagazine.com/db/news/436.htm.
Film&Video, Nov. 17, 2000
A52's Simon Brewster Plays In Audi "Rain" For McKinney & Silver
Visual effects and broadcast design powerhouse A52 today announced details of their visual effects work for director Mehdi Norowzian and Chelsea Pictures for McKinney & Silver's Audi "Rain" spot.
VFXPro, Nov. 2, 2000
A52 'Sleepwalks'
A52 completed visual effects work for the Wallflowers’ music video "Sleepwalker," directed by Mark Romanek of Anonymous Content.
Shoot Magazine, Nov. 2, 2000
McKinney & Silver "Can Do" For XO
VISUAL EFFECTS, A52, Los Angeles. Dan Sumpter, animation artist.
Shoot Magazine, Nov. 2, 2000
How Did They Do That? Making Tracks with Adidas
"Speed" was directed by Andrews Jenkins of Food Chain Films, Portland, Ore., via agency Red Button, Portland. Visual effects were completed by A52, West Hollywood. SHOOT caught up with A52's Patrick Murphy, the visual effects supervisor/lead Inferno artist on the spot....
Design in Motion, Oct. 31, 2000
Digital Domain Brings Nike Olympic Campaign Into Focus
Editorial Company: Rock, Paper, Scissors, West Hollywood, Editor: Angus Wall. Inferno Design Artists: Simon Brewster (A52), Patrick Murphy (A52).
Shoot Magazine, Oct. 26, 2000
Two Worlds: DP Roberto Schaefer moves effortlessly from spots to features.
Schaefer believes that a number of the post-intensive spots are very well done. In particular, the DP praises Simon Brewster, visual effects supervisor / Inferno artist at A52, Los Angeles, who did the Inferno work on "Tower."
DigitalMediaNet Timeline, Oct. 26, 2000
A52 Creates Invisible Visual Effects For The Wallflowers' "Sleepwalker"
Excerpt from and link to Special Feature on latest news from West Hollywood's award-winning visual effects and design powerhouse.
Video Systems, Oct. 26, 2000
Special Feature: A52 Creates Invisible Visual Effects For The Wallflowers' "Sleepwalker"
Special Feature on latest news from West Hollywood's award-winning visual effects and design powerhouse.
Shoot Magazine, Oct. 26, 2000
Two Worlds: DP Roberto Schaefer moves effortlessly from spots to features
Schaefer believes that a number of the post-intensive spots are very well done. In particular, the DP praises Simon Brewster, visual effects supervisor/Inferno artist at A52, Los Angeles, who did the Inferno work on "Tower."
Film&Video, Oct. 26, 2000
A52 Creates Invisible Visual Effects For The Wallflowers' "Sleepwalker"
Latest news from West Hollywood's award-winning visual effects and design powerhouse.
Design in Motion, Oct. 26, 2000
ATTIK Scores Home Run for FOX
A52 was represented by executive producer Liz Roewe, lead inferno* artist Patrick Murphy, Henry artist Dan Sumpter and producer Leighton Greer.
The Wallflowers Network, Oct. 25, 2000
A52 Creates Invisible Visual Effects for Wallflowers' "Sleepwalker"
Coverage of music video visual effects work from fan site.
Music Industry News Network, Oct. 25, 2000
A52 Creates Invisible Visual Effects for Wallflowers' "Sleepwalker"
Latest news from West Hollywood's award-winning visual effects and design powerhouse.
Shoot Magazine, Sept. 7, 2000
Fluid Post Programs A TiVo Unit
EDITORIAL: Rock Paper Scissors, Los Angeles, Adam Pertofsky, editor; Tatiana Vasquez, producer. POST/VISUAL EFFECTS: A52, Los Angeles, Dan Sumpter, online editor/visual effects artist.
Shoot Magazine, Aug. 31, 2000
Top Spot of the Week Credits: Levi's "Fix It"
EDITORIAL: Rock Paper Scissors, Los Angeles. Angus Wall, editor. POST: A52, Los Angeles. Dan Sumpter, online editor....
Shoot Magazine, July 20, 2000
2000 International Monitor Awards
The national spot honor in 3-D animation went to A52, Santa Monica, for Toyota's "More Spectacular" helmed by Lance Kelleher via Ritts/Hayden, Los Angeles. Simon Brewster and Michael Gibson, visual effects supervisors; Denis Gauthier, CGI supervisor. Ritts/Hayden, Los Angeles. Lance Kelleher, director. Rock Paper Scissors, Los Angeles. Adam Pertofsky, editor.
Boards Online, Jul. 18, 2000
ITS Celebrates Annual International Monitor Awards
BEST 3-D ANIMATION: A52. Simon Brewster, Michael Gibson, Denis Gauthier, Lance Kelleher of Ritts/Hayden Productions, Adam Portofsky of Rock Paper Scissors: Toyota "More Spectacular".
Shoot Magazine, Jul. 6, 2000
ITS Forum Returns To West Coast
Companies nominated in the national spot visual effects category included: A52, Los Angeles. A52 also scored finalist status in the 3-D animation category.
Shoot Magazine, June 8, 2000
Headquarters, Fallon Top Ninth Annual AICP Show Sight Effects, Propaganda/Satellite, Partizan, HSI, Among Honorees.
Ninth annual Association of Independent Commercial Producers (AICP) Show at the Museum of Modern Art (MoMA), New York. BMW 3 Coupe, "Music Notes" (:30). Jeep, "Hand"(:60). Audi of America, "Wake-up" (:30).
Millimeter, Mar. 1, 2000
Viewpoint Digital Automotive Modeling Services Fuel Innovative Car Commercials
Ritts/Hayden engaged a52, who had previously collaborated with Viewpoint on spots for Mazda and Legoland, to produce the visual effects. Viewpoint was a52's natural choice to create the digital Tundra models.
Digital Animators, Feb., 2000
Viewpoint Digital Automotive Modeling Services Fuel Innovative Car Commercials
Viewpoint Digital announced recent starring roles for its virtual 3D vehicles in spots for top ad agencies...
Post Magazine, Jan., 2000
Travelling Pictures in a Toyota Tundra
A52 supplied Travelling Pictures with live-action background plates of the salt flats directed by Lance Kelleher of Ritts/Hayden in LA....
Design In Motion, Jan. 27, 2000
A52 Makes Ben Harper 'Shine'
West Hollywood-based visual effects and broadcast design company A52 translated the retro style of the album art for Ben Harper's "Burn To Shine" into the music video for the title single.
VFXPro, Jan. 25, 2000
Viewpoint and a52 Build Toyota Tundra
Artists at Viewpoint Digital Inc. and a52 (formerly Area 52) discuss the bolt-by-bolt creation of moving sports utility vehicle for Ritts/Hayden's Toyota Tundra commercial.
VFXPro, Jan. 11, 2000
A52 Delivers 'Burn' Effects
Shoot Magazine, Jan. 6, 2000
McKinney & Silver Reflect For Audi
POST/VISUAL EFFECTS: A52, Los Angeles. Scott Johnson, online editor; Simon Brewster, visual effects supervisor/Inferno artist/graphics designer; Liz Roewe, executive producer; Cassie Hulen, producer.
VFXPro, Dec. 2, 1999
Toyota Tundra Comes Together
VFXPro, Nov. 4, 1999
A52, Vision Crew Create 'Hand' VFX
Visual effects supervisor Simon Brewster of A52 (West Hollywood) headed the creation of the visual effects for the new Jeep spot titled "Hand."
Shoot Magazine, Oct. 8, 1999
Divine "Hand" of guidance steers Jeep Wrangler
Douglas gives much of the credit to editor Michael Elliot of bicoastal Mad River Post and visual effects supervisor/lead digital artist Simon Brewster of A52, Santa Monica, both of whom he collaborated closely with.
VFXPro, Aug. 26, 1999
A52, BUF Create Macy Gray VFX
Film & Video, May, 1999
Commercial News
Effects/design studio A52, West Hollywood, created visual effects for a Foote, Cone & Belding spot directed by Sam Bayer of H.S.I./Mars Media featuring Michael Jordan....
VFXPro, May 11, 1999
A52 Creates VFX For UUNET Spots
Los Angeles-based visual effects studio and design boutique A52 created the visual effects for two new spots for Internet service provider UUNET.
Design In Motion, Apr. 29, 1999
The Attik Designs GM EV1 Spots
The San Francisco branch of design company The Attik created two new :30 spots for General Motors Corporation's EV1 electric car.
VFXPro, Apr. 10, 1999
A52 Creates UUNet Spot VFX
Visual effects supervisors Peter Webb and Simon Brewster, as well as CGI artist Denis Gautier, all of Los Angeles-based visual effects and design studio A52, recently completed the visual effects on a pair of :30 UUNet commercials...
VFXPro, Mar. 15, 1999
A52 Creates Gatorade VFX
Visual effects supervisor Simon Brewster and producer Victoria Alonso headed the A52 contingent, which included flame* artist Tim Bird and Henry artists Lisa Tomei and Scott Johnson.
Shoot Magazine, Mar. 12, 1999
FCB Makes Life - Easier With AT&T
POST/VISUAL EFFECTS: A52, Los Angeles, Paul McMenamin, visual effects artist.
VFXPro, Dec. 8, 1998
A52 Creates Lexus "High Bank" VFX
A52 created the visual effects-heavy Lexus "High Bank" spot which features a Lexus ES-300 driving on an elevated freeway lane through a fictional city.
Shoot Magazine, Dec. 4, 1998
Simon Says (Visual Effects Artist Simon Brewster)
Aussie post-man crosses the pond.
Shoot Magazine, May 29, 1998
It's Guts & Glory Time For Miller High Life
Real Men Strut Their Stuff In Errol Morris Campaign Via Wieden & Kennedy. EDITORIAL: Rock Paper Scissors, Los Angeles. Angus Wall, editor. Linda Carlson, executive producer. POST: A52, Los Angeles. Lisa Tomei, online editor/Henry artist; Liz Roewe, executive producer....
The Wall Street Journal Interactive Edition, Mar. 19, 1998
Behind the Curtain: Efficiency and Technology Wage a Constant War, And the Costly, High-Tech Option Usually Wins
The "top this" mentality is not limited to the film world. Advertisers are also deploying effects more often, says Liz Roewe, a partner in the boutique effects house A52. "They really feel that, to connect with their client base, they need to show images and advertising incorporated into the technology we're able to provide," Ms. Roewe says, noting that auto makers are in the forefront of advertisers who want effects-driven ads. "And they're willing to pay quite a bit for it." She adds that even when the technology itself isn't expensive, the labor cost of putting together a top-drawer team of artists is.
