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Mayweather! Pacquiao! Geffen! Haley + Bodega get all the big names to make their pick

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BODEGA, Northern Lights, SuperExploder trifecta!

SHOWTIME/HBO MAYWEATHER VS PACQUIAO PROMO

Who are you picking? Mayweather or Pacquiao?
Bodega’s Haley Geffen directed some of biggest names in sports and entertainment to get their picks on the most anticipated fight in boxing history.
Mayweather vs. Pacquiao happens Saturday, May 2 live on pay-per-view beginning at 9pm ET/6pm PT.

SHOWTIME Credits:
Earl Fash: VP/Creative Director
Derek Barbanti: Senior Producer

Bodega Credits:
Haley Geffen: Director/Creative Director
Clint Goldman: Executive Producer
Michael Flexner: Head of Production
Robbie Norris: Field Producer

Northern Lights Credits:
Chris Carson: Editor
Chris Hengeveld: Lustre Artist
Julie Zivic: Senior Producer

SuperExploder Credits:
Jody Nazzaro: Sound Designer, Mixer
Meredith Nazzaro: Executive Producer

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Northern Lights editor Glenn Conte cuts down Cop Show for cutup Colin Quinn

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Our very own Glenn Conte, editor at Northern Lights Edit is cutting all the episodes of comedian Colin Quinn’s new satirical web series, COP SHOW. Great review from the NY Times follows and you can click the image below to watch the premiere episode. Congrats Glenn!

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Review: ‘Cop Show,’ Colin Quinn’s Police Procedural Satire
By MIKE HALE
Feb. 17, 2015

The comedian Colin Quinn is a cunning self-deprecator: He makes fun of his own middling level of fame with an aggressive edge that suggests that he really ought to be bigger by now. On Twitter, he draws attention by encouraging his haters, retweeting their most imaginative insults. (Recent sample: “My girlfriend and I are going to play the CQ game. Every time you come on screen, we drink arsenic.”)

His new eight-episode online series, the ragged, amiable and occasionally quite funny “Cop Show,” fits this pattern. It’s billed as a satire of police procedurals like “Law & Order,” but it’s really a double-edged satire of Mr. Quinn’s pretensions and desires. Playing himself as the creator, writer and star of a cut-rate, amateurish detective drama, he’s clueless, affected and obsessed with righting the wrongs done to him during his career. It’s a funny and fairly merciless self-portrait, but hey, “Cop Show” is, indeed, his show. No one else is getting the last laugh.

The show debuts Wednesday, with new episodes of five to six minutes each appearing weekly on the Lexus-sponsored video site L/Studio. It is a mock making-of documentary. We see the unspeakably bad show-within-a-show, which features Mr. Quinn, Sue Jean Kim and Keith Robinson as detectives, and we see behind-the-scenes interviews and outtakes filmed by a reporter for a snooty-sounding French publication, played with an amusingly exaggerated accent by Elsa Carette. Encountering Jerry Seinfeld on the set, wincing as he observes the proceedings, she cautiously asks, “Your name ees on zees?”

Mr. Seinfeld’s name isn’t on the series, but he showed up for Episode 1, and a number of other comedians drop by to help Mr. Quinn: Amy Schumer, Jim Gaffigan (doing a surprisingly convincing Congolese warlord), Jim Norton, Pat Cooper. In one amusing bit, Michael Che — currently a “Weekend Update” anchor, a role Mr. Quinn filled before his unceremonious off-season exit from “Saturday Night Live” — shows up to play a detective who has the Quinn character’s old job.

“All people do is talk about how great you were,” Mr. Che says, reading his Quinn-written dialogue. “It feels like I’m following your shadow.” Mr. Quinn, with his contradictory blend of smugness and wounded pride, replies: “Well, I was just doing my job, fella. And I left of my own accord, I wasn’t forced out. Over the summer.”

Produced by MEGA Films. Created and written by Colin Quinn; directed and produced by J. D. Amato; Morris S. Levy, Brian Stern, Mr. Quinn, Lisa Eisenpresser and Caitlin McGinty, executive producers.

WITH: Colin Quinn (Colin), Keith Robinson (Joe), Sue Jean Kim (Grace), Peter Grosz (Kyle) and Griffin Newman (Jake).

Here’s SHOOT’s coverage:

NY-based Northern Lights editor Glenn Conte dives into the raw world of police dramas in the new satirical web series, “Cop Show,” created by SNL alum and comedian Colin Quinn. Conte edited the 8 episode series that recently debuted on L/Studio, which also hosts Lisa Kudrow’s web series “Web Therapy.” The show is a behind the scenes look into the production of a crime drama and features an A-list lineup of guest stars, including Jerry Seinfeld, Amy Schumer, Jim Gaffigan, Michael Che, Peter Grosz and Griffin Newman. The series was created and written by Quinn, is directed by J.D. Amato (“The Chris Gethard Show”) and is executive produced by Morris S. Levy of MEGA Films and Brian Stern (Comedy Central’s “Big Time in Hollywood, FL”).

Click HERE to view “Cop Show” Episode 1 “The Dream.” Episode 2 stars Amy Schumer in “Hipster Drug Gang.”

Having previously worked with Levy on the comedy feature A Novel Romance, Conte was eager to collaborate again for this web series, which is Conte’s first. He notes, “It was great working with such a high caliber of talent. Colin knew exactly what he wanted and it was exciting to work with him to push the comedy to the next level and really help shape the show from the beginning stage.”

Adds Quinn, “Cop Show is a labor of love. That’s why nobody made over a hundred dollars.”

“When you’re making a web series about a documentary about a fake television show about fake cops, things can get out of hand very quickly,” Amato comments. “You need production and post-production to be extremely efficient or the whole thing falls apart. The team working on ‘Cop Show’ went above and beyond to make sure we got the best out of our material.”

Super Bowl open

BODEGA Got the Party Started to Open Super Bowl XLIX for NBC Sports

From Editor Alan Chimenti: “It’s been a long haul since I started cutting that in NYC last July, throughout the Fall of 2014, and finally finishing it at my dining room table in San Francisco on Tuesday after receiving final player footage that was shot a few hours earlier in Phoenix. ”

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Esteemed client BODEGA’s Emmy Award-winning creative director Haley Geffen teamed up with NBC Sports Group and VP Creative Director/Director Tripp Dixon and RodeoFX to create the high-energy opening for Super Bowl XLIX.

Having collaborated on the Sunday Night Football open for three consecutive seasons, the Bodega team was well poised to intensify the energy and glitz for Super Bowl XLIX. Geffen and Dixon led a three-day shoot, months in advance of the big game, to capture Underwood’s performance that glamorized the Super Bowl. Bodega worked closely with RodeoFX to enhance the stage visuals for the stylized concert experience, with dynamic holographic letters emblazoning the Super Bowl logo on the stage. To craft the stage view looking out at the audience, a customized CG rendering of the University of Phoenix Stadium was created to transport viewers straight into the excitement of the game.

“It was great to work with two very talented and collaborative teams,” said Dixon. “We were able to rely on Bodega’s creative energy and prior production experience with the Sunday Night Football open, and combine that with RodeoFX’s strong visual effects capabilities, fresh perspective, and feature film experience.”

Parlaying its extensive visual effects experience in film, TV, and advertising, Rodeo FX crafted close to 80 shots, including the CG holographic roman numerals that display behind Underwood and 60,000 simulated fans. The project, led by advertising division creative director André Ü Montambeault, tapped Rodeo FX artists from every division, bringing on concept artists, modellers, senior effects artists and digital compositors from every department to bring the vision to life.

“This is a huge project, the biggest opening in sports,” said Geffen. “When we reviewed the pitches for this project, it was immediately clear to us that we wanted to go with Rodeo FX. We could see the caliber of what they offered and we knew they could make the opening better. André is a creative leader, understand what sells in sports, the NFL and in America. But more than that, he had the imagination to make it come alive.”

The intro consists of both live action shoot footage and archival footage from NFL games, that were shot by numerous networks,, using a wide range of frame rates and cameras. This all came into play for color grading. RodeoFX aimed to make it all look like it was shot together and intended to flow in a cinematic manner.

“Working with Tripp and Haley, who both have a strong background experience on such high-profile projects was a privilege,” said Montambeault. “The flamboyant and high-energy opening is the result of everyone’s collaborative effort, as well as the significant contribution of many of our talented and passionate artists.”

Adds Geffen, “It’s been such a great experience collaborating with NBC, working together to continue aiming to push the boundaries for sports opens.”

Credits:
Client: NBC Sports

Bodega
Creative Director: Haley Geffen
Head of Production: Michael Flexner
Line Producer: Rayna Saslove
Director of Photography: Chuck Ozeas
Production Designer: Evan Rohde

Northern Lights
Editor: Alan Chimenti
Executive Producer: Robin Hall
Assistant Editor: Tim Avery

Rodeo VFX
VFX Company: Rodeo FX, Montréal, Québec
President: Sébastien Moreau
Creative Director: André Ü Montambeault
Producer: Ashlee Wismach
Lead Compositor: Pierre Blain
Lead Motion Designer: Jocelyn Tremblay
CG Supervisor: Sébastien Francoeur

NBC Sports
Coordinating Producer: Fred Gaudelli
SVP Creative: Mark Levy
VP Creative Director/Director: Tripp Dixon
Senior Associate Director: Charlie Vanacore

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Creative License instrumental in launch of YouTube Music Key

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After putting in 1000s of collective man hours, executing 100+ contracts and tracking down people and labels on four different continents, the YOUTUBE MUSIC KEY launch video is live. Great work by esteemed client Creative License working with Google and co-collective to launch this exciting new product.

Creative License, with offices in NY, Milan, Mumbai and Sao Paulo, is the top independent firm specializing in the high stakes procurement of celebrity talent, music licensing and copyrighted intellectual property for use in advertising, public relations, special events, and promotional campaigns.

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MindOverEye profiled in SourceEcreative Rastermasters Special Feature

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From its home base in automotive work, the fast-growing company is expanding boldly into new product, content and media categories.

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The Mars Rover doesn’t have a lot in common with the Jaguar F-Type or the latest pulse-throbbing iteration of Chevy’s Corvette Stingray Coupe. The Rover, for example, has six wheels, and runs on what’s probably a little nuclear reactor. It also can’t go from zero to sixty in under five seconds. But don’t tell that to the folks at MindOverEye. For them, if it moves, reflects light, has curves and can shine, then they’ve got it covered.

Of course, that description fits a lot of things besides Martian land craft and muscle cars. Just about any consumer electronic gadget would fit nicely, as would any manner of recreational gizmo that has a modern, high-tech and ultra-sleek look to it. Frankly, it really doesn’t matter what your hero product might be. When it comes to finding new ways to make it look simply awesome, MindOverEye and its cadre of artists, programmers, producers and directors are up to the task.

They’ve done it for the aforementioned Rover (as part of their work for TV’s “Cosmos” series, an image from which appears above), as well as for just about every automotive model you’ve ever lusted after while sitting at a stop light. But they’ve handled more than just sheet metal, shooting VFX-infused, integrated live action work for a range of brands.

When last we checked in with MindOverEye back in the fall of 2013 (you can see that story here), the studio was riding high on a number of interesting projects for brands such as Jaguar and Microsoft. In the case of the former, the studio was asked to shoot a few effects-oriented inserts. In the process of capturing live action footage for the assignment, they shot added content and transformed it, on their own, into a fast-paced, design-driven standalone commercial. They showed it to the client and its agency, Spark 44, and it was met with open arms (not to mention the smell of burning rubber). The spot has gone on to run around the world, with the client recently re-upping to use it for a second year.

Since then, MOE Founder and ECD Bill Wadsworth says the studio has simply exploded. They’ve experienced growth in the area of 60 percent since moving into their current complex in El Segundo back in December of 2012, where they operate out of a 15,000 square-foot nest of shooting stages, edit rooms and workstations.

MindOverEye is still an integral part of parent company Source Interlink, publishers of iconic titles like Motor Trend. Earlier this year Source Interlink rebranded its media division as The Enthusiast Network (TEN), home to a range of online video content sites that cater to everyone from car buffs to the burgeoning action/sports market.

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From the initial success of its Jaguar spot, MOE has been commissioned to produce a half-dozen more long-form pieces, including a series that puts the F-Type through moves and settings straight out of an action thriller.

Wadsworth and MOE’s Director of Integrated Production Paul Babb – who first worked together at Ogilvy & Mather in Los Angeles, along with MOE Executive Producer Dave Wein, back in the 1990s – report that the studio has worked for close to a dozen major automotive brands in the past two years, including Ford, Lincoln, Hyundai, Dodge and others.

The company was tapped by Infiniti to produce a dark and foreboding short film titled “The Beast Within,” to introduce its sexy Q50 Eau Rouge concept car (which was created completely in CG), and created an experiential event for the model that was mounted at this year’s Concours d’Elegance in Pebble Beach, California, the preeminent luxury car show in the US.

And they were brought in by the VFX supervisor on the aforementioned Fox/National Geographic series “Cosmos: A Spacetime Odyssey” to produce a number of shots for this critically-acclaimed series. What started as a small assignment quickly ballooned to over 150 effects shots, says Babb, with a number of them being part of the work that earned “Cosmos” an Emmy nomination for Outstanding Visual Effects.

Much of MindOverEye’s automotive work, Wadsworth says, arises out of the studio’s connection with TEN, whose automotive channel on YouTube has over 2.6 million subscribers. In fact, MOE produced a live installment of TEN’s popular YouTube show “Wide Open Throttle” during the Pebble Beach show. If anything, these kinds of projects represent the future of where MOE is headed. Wadsworth and Babb report that the company’s volume of live action production has taken off in the past year. “We’ve shot in 15 different countries, creating over 100 hours of original content working with just about every kind of image capture device out there,” says Wadsworth.

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This explosion of work is being fed into a slew of media projects MOE has undertaken, and the list is dizzying. They’re creating commercials, branded content, original programming, apps and games and for some of the top users of design and effects-laden imagery out there.

Get Wadsworth talking about these gigs and it’s hard to get him to stop. [/column]

He’ll tell you, for example, about the work they’ve done with Dodge, drifting a rare Viper sports car across the desert flats near Barstow or racing it through the closed-off streets of downtown Detroit. (And if you’re up for it, check out MOE’s Dodge “Revolution” driving app, which you can download off the iTunes store.)

And then there’s the Augmented Reality work they’re doing for both racing games and other digital entertainment genres. Again, if you get Wadsworth rolling on this I advise you to start taking notes. He’ll explain mobile shading algorithms, physics-based user interfaces, extended tracking systems and lot of other technical jargon, but keep in mind that all these terms usually add up to one thing: awesomeness.

“It’s kind of like the nerds have been left to their own devices, and they’ve simultaneously generated all this cool stuff,” he says with a laugh about his studio’s diverse output. And it’s easy to share his enthusiasm.

So what’s driving all of this work, we asked? “It’s because we have the talent and we’ve shown we can do really outstanding stuff,” says Babb. “On top of that, we deliver what we say we’re going to deliver.” More importantly for ad agencies is their ability to take macro views of a brand’s content needs and figure out smart ways to satisfy them, says Wadsworth. MindOverEye has been investing heavily in building up its storage and render capability, bulking up its pipeline and adding to its fiber backbone, all geared to handle the multi-genre, multi-platform, multi-media needs of advertisers. “When you need to get as much of your production budgets as you can, then it’s all about harvesting data,” Wadsworth says. “It’s important to capture as much as you can going in, and it’s how we’ve always worked.”

This methodology has particular value for automotive brands, he points out, given their voracious needs, “but our process can benefit almost anyone,” he points out. “And we’ve been on a tear getting people to see what they can get out of their production budgets for just a little added effort or money, and how much value that adds. It really drives the cost of everything down when you look at the economy of scale.

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The work the studio did on “Cosmos” has opened doors for them outside the automotive category, says Babb, which the studio has welcomed as a balance for its automotive work. One area they feel particularly well-suited for is the growing action/sports genre, an important category for The Enthusiast Network. MOE is positioning itself to work on brand integration content for advertisers that are interested in connecting with this audience, which skews younger and more upscale, and they’ve already produced online videos for both Ford and Subaru tied to activities like surfing and kite sailing.

Lots of things are on the horizon for the studio, Wadsworth adds. They’re actively negotiating for more space in their current campus, where the 80-or so people who work there every day are busting at the seams. This, of course, will give them an opportunity to retrofit their existing studio space and build out new space, which is something of a specialty for Wadsworth. MindOverEye has been his baby since he began to devote himself to it full time after leaving his position running the graphics and design studio at O&M in 2004. (Up until then it had been his agency-sanctioned sideline, a place for him to experiment with new graphics and effects technologies, many of which he brought back to Ogilvy.)

“We have such a good, solid, strong company now, and it’s so different than the one that moved into this space almost two years ago,” he says with pride. “There’s an eclectic array of things going on here every day, and we’ve taken our strengths and stretched them really wide. We have an actively curious community of people here, and one of their favorite things to do is share, so there’s a lot of cross-pollination,” not just among the MOE staff but between them and other elements of the TEN media team.

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It’s all paying off big-time for Wadsworth, Babb, Wein and other senior members of the MOE management team. That they’re having this much fun at this stage of their careers isn’t lost on them, either. “We’ve got great support from our corporate parent, and lots of latitude to pursue some unorthodox things for a visual effects and CG studio, but we feel it’s reaping huge dividends for us,” Wadsworth says.

For now, they feel as though they’re sitting on a goldmine. They’re being tasked with new challenges, broadening their client base and producing more original programming – all part of their long terms plans. More immediately, the joint promises to stay super busy: “Over the short term I can see us doubling in size,” Wadsworth sums up. “We’re out to build a one-of-a-kind facility here, one that will function as a unique content engine. We can’t wait to turn it loose.”

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Brand Spankin New Symbicort from Ffake and Mike Smith

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The brilliance of using the Wolf and 3 Pigs story for a COPD product can’t be understated in this charming throwback to classic fully animated pieces of the 40’s and 50’s.

Client: AstraZeneca
Product: Symbicort
Agency: JWT NY
Director/Design: Mike Smith
Animation Production: FFAKE
Live Action: Laurence Thrush/Rabbit