Tag Archives: Commercials

Editor Haansol Rim’s Remarkable Visual Eloquence

HAANS-By Chiao Chen_2 (2)
Photo by Chiao Chen

In the world of film and video, no other single craftsman exerts as much influence over a film as the editor. As the legendary Orson Welles said, “The notion of directing a film is the invention of critics—the whole eloquence of cinema is achieved in the editing room.”  It is a very particular skill, one that demands a profound aesthetic sense, a gift for visual rhythm and a wealth of technical knowledge, a complex set of capabilities which editor/creative editor Haansol Rim possesses to the highest degree.

Whether he is doing a television commercial or music video, Rim’s visionary approach determines the tone, pace and feel of every project. With his international heritage (born to Korean parents in Germany) and the benefit of his classical training in fine arts and an extensive musical background (he is an accomplished composer, arranger and performer), Rim’s multi-faceted creativity always operates at the highest level.

The New York-based creative editor enjoys a thriving roster of jobs at well-known creative production company MATTE, and he brings in every assignment with an elegant final cut that perfectly complements the project and consistently exceeds expectations.

“His understanding and versatility of skills are priceless,” MATTE’s associate creative director Danny Yirgou said. “Because he has such a diverse background and experience in multiple fields, Haans knows how to stylize his edits and design them according to each project. For some he might edit focusing on the tempo of the film, creating a certain tone; vs on others, he might edit using more fast paced effects, and diverse frames to create a different speed and tempo, ultimately creating a completely different film altogether.”

Some prime examples of this impressive range are Rims’s work on commercials for famed luxury fashion brand Prada, athletic footwear giant Adidas and a promotional world tour announcement video for Grammy-winning EDM duo the Chainsmokers (recently named by Forbes magazine as the highest paid DJS in the world).

Taking on such a wildly disparate work load from some of the highest profile brands and clients in the world would intimidate many, but the gifted Rim —thanks to his coolly professional attitude and boundlessly creative approach—always makes it look easy

“As an editor, I choose works in which the director’s vision aligns with my editing style,” rim said. “I think synergy between the director and editor is essential to really bring to life the best version of the project.”

To achieve this end, Rim also applies a shrewd analytical approach: “Commercials are based on the client and the consumer, so I need to consider the psychology of the buyer. What would appeal to them? What shots, editing, and story would draw the consumer to purchase the product?”

That kind of comprehensive understanding and anticipatory finesse are hallmarks of Rim’s highly individuated and winning style as a creative editor. On the Chainsmokers video Rim, typically, nailed it from the start.

“I was initially assigned to work on the pitch video for this project,” he said. “The Chainsmokers loved our pitch, and chose us for the commercial. Since I had edited the initial pitch video, I got to edit the final work as well.”

“They were looking for the film to be visual effect heavy and overall, for it to look cool. I have a background in visual effects, so it was easy to collaborate with the VFX team. Based on the client’s feedback, we worked to make their vision come to life.”

“It was released earlier this year and seen everywhere. This was a world tour commercial for all of 2019, so it was posted in all video streaming sites such as YouTube.”

The Adidas job allowed Rim to mix stylish visuals with a semi documentary format: “The commercials are all heavily reliant on the client’s wishes,” Rim said. “So o celebrate the launch of James Harden Vol. 3 shoe line, MATTE brought the next chapter in James Harden’s ongoing narrative to his greatest fans, shooting over the course of two days through premium activations in Houston. Then, as creative editor, I matched the commercial to the director’s desired style and vision”

The Prada commercial was set in a particularly rich visual milieu—the Chinese New Year’s celebration, always a riot of giant lion dancers and fireworks.

“Prada wanted to pay homage to the Chinese New Year celebration with the aim to promote products developed specifically for this holiday,” Rim said. “The commercial was dedicated to modern Asian youth culture and style.”

Once again, Rim’s sensitivity and artistic skill as an editor perfectly suited the spot’s needs.

“Since the director’s goal was to make it seem like a one take film,” he said. “There weren’t a lot of shots, it was mainly a long single take shot without a lot of cuts. I tried to make the editing as seamless as possible to make it fluid.”

With his constantly growing resume of internationally known, high-prestige clients, Rim’s penetrating, holistic approach is a true recipe for success.

“I am naturally curious and analytical,” Rim said. “My brain works both ways, from beginning to the final product, and from the final product to the beginning. That’s why I am adept at handling these processes so well.”

Xin Yi helps take us back to the ‘80s with new ‘Rocket League: Radical Summer’ trailer

IMG_20350_1
Xin Yi

As a renowned 3D Artist, creating stunning visual effects seen by audiences around the world, China’s Xin Yi is incredibly adaptable in her work. She does not have a specific style or trademark, but rather focuses on creating the most stunning imagery she can in whatever style the project demands. She can make visual effects look as realistic as a photograph, blending seamlessly with their surroundings, or a stylized animation that captures the hearts of its viewers.

This outstanding versatility is evident in all of her work, no matter the genre or medium. Whether creating the virtual set for NFL Redzone or modeling, materials, lighting, and some transitions and characters for the World of Warcraft Arena World Championship, Yi focuses on the details to create artistic effects.

Recently, millions around the world saw Yi’s work in the Rocket League: Radical Summer trailer, although they may not know it.

Rocket League is a vehicular video game developed and published by Psyonix. It is like soccer, but with rocket-powered cars and has up to four players assigned to each of the two teams, using rocket-powered vehicles to hit a ball into their opponent’s goal and score points over the course of a match. Released in 2015 for Microsoft Windows and PlayStation 4, with ports for Xbox One, macOS, Linux, and Nintendo Switch being released later on, it is a now iconic game, with its own professional league and a vast worldwide following.

Radical Summer is an extension of the game, a celebration of ’80s movies, television and culture. The extension has new items, game modes, DLC, and more. Available From 6/10 to 8/12 on Xbox One, PS4, Nintendo Switch, and PC.

“It is a pretty fun game to play with friends, even though I am not usually a gamer. The Radical Summer pack is super fun and cool as well,” said Yi.

After previous success on the Rocket League: McLaren 570S Car Pack Trailer in late 2018, Yi and her team at the motion graphics design and animation production studioCapacity were once again invited to create captivating cinematics to promote this new development of the game.

Before beginning work on the trailer, Yi did some research on Rocket League to know more about their style and at the same time, she watched movies from the ’80s and listened to music from that time period. Understanding more about the time period was essential in creating an ‘80s appearance and style in her work.

Yi did all of the rigging parts and exported them to let other teammates make an animation out of them and she also helped to animate one of the shots. She worked tirelessly to make the trailer both stunning to watch while matching the game’s style. She also did transition work to make the shot transfer to the next shot smoothly and did a composition for the TVs in the trailer to allow other artists to replace the footage easily.

“It is a really interesting project to work on. It brings us back to the ’80s, the rock music years. The pack is also using many elements from some 80’s culture, television from the decade and blockbusters,” said Yi.

Yi’s work on the rigs, animation, composing, materials, scene transitions, and renderings of this trailer paid off. The trailer was released on Rocket League’s official website and YouTube in June 2019. It received many positive comments and a lot of people were looking forward to playing the newly released pack. It has over 3.6 million views on the official YouTube link so far, and greatly contributed to the Radical Summerpack’s ongoing success.

You can check out the Rocket League: Radical Summer Trailer to see some of Yi’s beautiful 3D artistry.

Producer Jamly Yang shoots in stunning locations for award winning commercial

One of the most life changing events in Jamly Yang’s life occurred when she was only a child and watched a feature film for the first time. She was transfixed by what she saw, not only by the story, but how everything looked so real. She remembers being convinced that the action shots and detailed war scenes were actually happening in front of her eyes and had to be consoled by her mother. After the movie finished, she became obsessed with the idea of one day making films of her own, with impactful stories that could touch audiences.

Now, Yang does just that, as a celebrated producer in her home country and abroad. Working on acclaimed films like Step Out, The Screenwriter in the Restroom, Billy’s Bear, and many more, Yang has combined her passion for storytelling with her determined mindset.

Yang has also worked with internationally recognized brands, such as Nike and Doritos, on many revenue generating commercials. Just last year, she worked on a commercial for Alpha Browser, an interactive mobile browser and all-in-one tool. The commercial is a powerful video that shows how Alpha Browser can help you in your daily life.

“I like how the commercial approaches it’s idea, instead of just introducing the product, which is what most tech companies would do, it shows people’s daily life, making the audience relate to the product,” said Yang.

Shooting the commercial involved a great deal of travelling between locations for the cast and crew, and Yang was in charge of organizing it all. She planned everything, from the hotel booking, to casting, to the budget, and even assisted with shooting when necessary.

“I loved the pretty location we shot in. What is different about commercials from film is the beauty of every frame. We can show a lot of pretty landscapes and use them to draw the audience’s attention. This is great for me because I love to travel, and on commercials you do a lot of it,” she said.

Under Yang’s leadership as the producer, the commercial went on to win several awards, including Best Commercial at the Calcutta International Cult Film Festival in both 2018 and 2019. It was also distributed internationally by ATK technology, directly contributing to sales for the product. Yang could not be prouder of what she and her team achieved, and as a fan of the Alpha Browser, she truly believed in the message she was putting out there.

“I like how it is designed. Every button is very clear and easy to understand. Compared to many of the other major browsers out on the market, Alpha Browser is more personalized. It’s more like your own account rather than just a browser. Whenever you use it, you feel at home, not in the internet ocean,” she said.

Yang has worked incredibly hard to get to where she is today, determined to achieve her childhood dream. Now that she has done so, she says the hard work doesn’t stop, and in order to continue her success, she treats every new project as a learning experience, constantly staying a student in an ever-changing world.

“This is an industry where you can’t expect fast success,” she said. “I guess just like every industry, there is nothing easy, and being passionate is the key. If you are still full of energy and love what you do after a long day, then don’t give up. Go for it and fear nothing.”

Watch the Alpha Browser commercial here.

 

 

Understanding the pressure of a prime-time commercial slot with Elena Ioulianou

When esteemed producer, Elena Ioulianou looks at a concept for a content piece, she sees far more than ideas. Rather, Ioulianou sees a variety of puzzle pieces begging to be carefully and considerately weighed amongst each other, searching for the perfect fit. She picks up each piece, rotating and shifting it to ensure that she maximizes its potential and places it in the spot that is going to bring forth a masterpiece. With that, Ioulianou has earned a reputation for her ability to arrange all elements of a film in such a way that leave it destined for success. From budgets and costings, to props and plot lines, Ioulianou involves herself in all aspects of a project in order to ensure that no page goes unturned, no budget goes unbalanced, and no script is left with anything less than the greatness it deserves.

During her time as a producer, Ioulianou has tested her hand at a number of different areas in the arts and entertainment industry. She has set her efforts toward commercials, online advertisements, and digital content production, as well as films, television shows, webseries, and much more. At the mere age of 30, she has worked with several media moguls such as Reel Edge Studios and Milk & Honey Films. What she may lack for in decades of experience, she makes up for in raw talent and determination. In turn, she produces exceptional content in a profession that is more competitive than ever before. With the addition of social media and the current state of our world’s digital realm, Ioulianou must ensure that she is familiar with the latest trends and technology available for use in her field and with that, she must find a way to appeal to her clients’ needs without compromising the need to keep with the times.

The vast majority of production work that Ioulianou has conducted has taken place in her birthplace, South Africa and her work has taken her all over the world. One of her most notable employment tenures emerged when she earned herself a position working for Executive Producer, Herman Venter, and Director, Harold Holscher, for brands such as Buco Hardware, LandRover, and Marriot Insurance alongside Rolling Thunder Productions. In fact, she produced a LandRover commercial that earned Rolling Thunder a nomination as a finalist in the 2016 Lories Awards.

Ioulianou began working for Rolling Thunder Productions in 2014 when Venter and Holscher approached her to join their team after hearing of her work with Reel Edge Studios and MoviWorld. For the three aforementioned companies, Ioulianou produced six extremely successful commercials and her reputation continues to strengthen as word spreads about these projects today.

After experiencing Ioulianou in her element, Holscher and Venter were blown away.

“Without exception, every client commented on the smoothness of the execution and the professional delivery which was on time and precisely what they had envisioned. Elena is so widely noted throughout the industry for her work and what continues to amaze me during our collaborations is her ability to take an extremely limited budget and still be able to identify resources that result in an extraordinary final product every single time,” said Holscher.

For LandRover, in particular, Ioulianou was tasked with producing a series of three, 30-second commercials to air on Supersport on DSTV during the Rugby World Cup. Imaginably, only the highest quality commercials would be fortunate enough to earn air time during such a popular event and this meant that Ioulianou’s work was more than cut out for it. She rose to the challenge and credits her logistical precision as being the main reason that the success of this project was even possible.

Similarly, for Buco Hardware, Ioulianou had her work cut out for her when having to manage a choreographed piece incorporating twenty-five amateur dancers from different backgrounds, age cohorts, and more. To make matters more difficult, this had to be achieved in one cinematic tracking shot through a hardware store. Under time and budgetary constraints, Ioulianou did what she does best and ensured, once again, that this project was a true success for the clients.

For other aspiring producers out there who find themselves dreaming of one day ending up being producers and creatives she had the following advice to offer:

“The difficulties of getting started and having a fear that the opinions of others, especially those in positions of power or those that have been in the industry for longer, are right or worth more than yours. This is something I deal with on a daily basis. Different roads can lead to the same destination. Just start.”

Mark Davis on transformational acting and representing well-known brands

HR_2643
Mark Davis

Mark Davis describes his style of acting as transformational. To him, there is no specific way to perfect his craft; it is simply about becoming an entirely different person the moment the camera is on him. He does whatever instinctually feels right, and as a sought-after actor in both his home country of Australia and abroad, he is definitely doing something right.

“I’m blessed with an ability to adapt my physicality and appearance to suit what I need. Though sometimes I just copy the greats. Steal everything,” he joked.

Film is a way for Davis to express himself, and as many of his projects have gone on to critical acclaim around the world at some of the world’s most prestigious film festivals, he knows how to connect with an audience. Whether working on dramas like I Want You, romance’s such as Lucy, or comedies like Topdecked, the actor’s versatility shines whatever the genre.

Australians would also immediately recognize Davis’ face from several national commercials for well-known brands, including a three-year long campaign for Honda. At the time, it was his first commercial, and he remembers the audition well.

“I walked in and pretended to talk to my girlfriend whilst driving a nice car and that was it. My mate ended up marrying the girl who played my girlfriend in it which is pretty funny. We joke that we had a relationship prior to them meeting,” said Davis.

Soon after, Davis once again graced small screens around his home country in a commercial for Crownbet, one of Australia’s largest sports-betting companies. In the advertisement, he played a young, wealthy gambler in a suit having a great time. He was the main character with a bunch of friends on a rat pack style night out. It showed a high end look at what a night out at Crown could be like, with an amazing hotel, beautiful scenery and lots of fun. However, it was shot entirely in front of a green screen, so Davis had to truly be in character and not pull from his surroundings to portray a believable performance. The commercial played during the Melbourne Spring Racing Carnival, which screens nationwide and gets millions of viewers.

“Crown is a huge company in Australia and it had a big budget to match. It was over the top and I knew it would be a good laugh,” said Davis. “Crown is a Melbourne icon and I love my city, so it was cool to work with the brand.”

Another unique commercial experience for Davis was when he shot a spot for Interflora, the international flower delivery service. In the Valentine’s Day campaign, one of the most important for the retailer, Davis played a teen, a mid-twenty-year-old, and a forty-year-old, putting up a fun acting challenge to quickly transition between such different age groups. He also had to manufacture a loving relationship with his co-star that showed them through the ages. At first, he was a cheeky teenager trying to steal a kiss, then a young dad, and finally a middle-aged man giving his wife flowers. He also had to dance, and having never taken dance lessons before, he let his natural abilities shine.

“This was a great commercial to shoot. It had amazing art direction that you can expect from a flower retailer, with lots of color and beautiful locations. It’s also a quintessential romance and Valentine’s Day story. I’m not sappy, but it did have a nice sweetness to it and romance is kind of cool. It’s great because my mom loves it,” he laughed.

So, what’s next for this industry leading actor? His latest film, Fallen, comes out later this year. The WWI period drama is some of Davis’ best work and can’t be missed. Be sure to check it out.

Character Technical Director Qiao Wang brings iconic characters to national Target campaign

It is not often that one individual is both technically and artistically inclined. Such skills normally find themselves separated, considered two different ways of thinking entirely. However, this is not the case for China’s Qiao Wang, where the fusion of both technology and art have led to a dynamic skill set that most do not possess. As a Character Technical Director (Character TD) or Character Effects Artist (CFX), Wang combines his technological way of thinking with his innate artistic talent. Compared to other roles in a CG animated film or a visual effects driven film, a Character TD tends to be both artistic and technical, and most of the time requires more technical knowledge and skill sets than other roles. As Wang was trained in both art and science, he knew those two roles would be a great fit for his career path, and he has dedicated himself to it ever since.

Wang now finds himself as a leader in his industry, having worked on several prolific projects. Whether he is working on films, such as Avengers: Infinity War, music videos, including the hit “Filthy” by Justin Timberlake, or commercials, including a series of recent ads for Lexus, Wang’s talent is evident, using CGI to create extremely realistic looking characters and objects.

“To me, design is to create a better experience or better life for users. The artwork, character animation system or whatever I design, is simply trying to make the users happy, to create the most efficient setup to make their lives easier. I think that’s my design style,” said Wang.

One of Wang’s ongoing professional relationships is with the iconic department store Target. He has worked on many commercials for the company over the past couple of years and enjoys it every time. They were one of the first series of projects that he did at Method Studios and they incorporate many aspects of what he likes about his job. The commercials offered a variety of digital characters, from Marvel superheroes, Lego characters, Trolls, ponies, Barbie dolls, etc. They all have different body types and they all require different rigging and character FX setups.

The challenge was creating such an array of characters, and Wang was eager to develop them.

Last year, Wang worked on the store’s Holiday campaign, including “Together’s The Joy | Target Holiday 2017”, “What Are You Thankful For This Thanksgiving | Target Holiday 2017”, “A Home For The Holidays | Target Holiday 2017”, “Order Pickup | Target Holiday 2017” and “Super Mario Odyssey – Now at Target 2017”. This year, he has worked on two commercials for the company’s “Jurassic World” campaign, “Target 2018 – Giant Steps” and “Target 2018 – Dino Clash”.

“All these spots are all over the internet and TV, and they’ve got millions of views, with very positive reviews. It feels great that consumers love the creative content that we did for our clients. I was so happy reading the reviews on YouTube, kids are very into the toys, cartoon characters, and the short stories. I feel very happy to see all these characters come to life, and I’m very excited about getting ready for the new Target holiday commercials in 2018 and creating more fun characters,” he said.

On every commercial, Wang jumped into production and started creating characters’ rigs including skeleton animation system, cloth and hair/fur simulation effects right away due to the tight schedule and large amount of CG content. He built characters and wrote thousands of lines of code for tons of different types of digital characters, props, vehicles, and massive environments.

Wang was also responsible for cloth and hair/fur simulation, muscle effects along with various other character finishing tasks and shot finishing tasks. He essentially is a groomer for the hair and fur, and characters like Trolls have a lot of hair to be managed. His skills in hair/fur simulation were essential. There was only one groomer in the studio besides Wang, who was quite busy at the time, so he stepped up and helped deliver high quality hair grooming and simulations.

One of Wang’s greatest accomplishments for the Target commercials was the system he developed to create generic rigging templates for Lego characters, Minions, and Barbie doll characters, which he was then able to apply to many other characters that had similar body types. It helped create facial rigs, and lip syncs to improve characters’ facial workflow and performances. The cartoon character facial setup system saved Wang and his team a lot of time, as the old system was broken. Wang’s new system saved the entire production.

“I really like how the commercials merged characters from different worlds, different productions into one story, and made them look like they belonged to the same world. I like to work on different types of characters to face different challenges. I really enjoyed being able to contribute to the character technology pipeline and workflow for the studio. The story and the lines are very entertaining and working on them makes me feel like the holiday season is right around the corner. Even though these are VFX commercial projects, we really treated them as top-notch fully CG animated short films,” he described.

Keep an eye out for the 2018 Target Holiday campaign to see more of Wang’s outstanding work.

 

Photo by Dustin Han

Olivia Jun rises in the face of stress for stellar HUAWEI Mate 10 commercial

Olivia Jun headshot
Olivia Jun

When Olivia Jun was just a child, she remembers watching her first movie and existing in a state of shock for the remainder of the day. She felt as though a door to another world had been opened. She saw people unlike her, in a life entirely different than her own. She realized that there must be more, there must be a world out there that was much larger than she thought. As she grew up, she allowed her love for film to inspire her and to guide her thoughts and interests to a better place. She immersed herself into the culture, history, and sciences of film. She absorbed as much knowledge as she possibly could about the industry and how to excel amongst the highly talented individuals who keep it alive. She never silenced the desire within her to become a filmmaker and today, she is well known for being a highly versatile, well-respected film producer.

So, what does an average day in the life of someone like Olivia Jun entail? Without fail, Jun tends to be one of the first people to arrive on set for the day and nevertheless, one of the last to leave. She spends every second in between undertaking tasks like ensuring cast and crew members are fed, monitoring the set up for the actors’ dressing rooms, liaising with department heads to ensure that roles and responsibilities for the day are clearly outlined, and much more. If an issue has arisen, she diligently opens lines of communication with everyone involved to make sure that they are able to come up with a seamless solution. Toward the end of the day, she proactively meets with each team to discuss preparation for the following day, and then finally, she determines how much of the budget was used that day and how best to manage remaining resources for the remainder of the project. To her coworkers, it feels almost as if she is capable of being in two places at once as she is always on her feet and she is there when someone needs a hand. Without Jun’s contributions, it is unlikely that many of the films and commercials she has produced would have ever been the successes they were. She was an invaluable asset in the creation of films like Esther, and Donna, as well as commercials for companies like eHi Car Service and HUAWEI Mate 10 Cellphone Commercial.

Earlier on in 2018, HUAWEI Cellphone Company put out a request to their contacts in the industry to recommend a highly skilled producer who would have the talent and expertise necessary to create a cutting-edge commercial for their company. As a direct result of Jun’s pristine reputation, she was asked to come on board for the project and to produce their commercial, HUAWEI Mate 10 Cellphone. Jun was particularly thrilled to join as the commercial was to be shot in the United States; however, the rest of the project would take place in her home country, China. She enjoys any opportunity that allows her to showcase her skills as a bilingual, culturally aware producer and she feels as though this ability gives her a leg up ahead of her competition.

The advertisement depicts a young man assuming a number of different roles in order to show off the multiple functions of the phone. The aim was to highlight the phone’s versatility and the knowledge that no two individuals will use it the same way; however, the phone is capable of accommodating each different variation of use. They wanted consumers to understand just how highly intelligent and convenient the phone is to have and Jun, along with the rest of the crew members involved in the commercial, did an exceptional job of making consumers feel as though the HUAWEI phone is the phone missing from their lives.

Jun joined in this project at a time after its former producer had to leave as a result of certain cultural and language barriers. Because of this, tensions were high amongst cast and crew members and her clients were very stressed. Astonishingly, even amidst difficult time constraints, Jun remained calm, patient and determined to bring her clients back to a place where they felt confident and excited about the project. Without wasting any time, she immediately began selecting and preparing set locations, organizing shooting schedules, and rebalancing the budget in such a way that actually afforded them an extra day of shooting without going over budget. Her clients were blown away and were relieved to know that they had hired a producer who could not only get the job done, but get it done well.

“The plan I came up with was very organized and it saved us a lot of time, lowered our risks, and allowed us to complete the shoot much better than we had originally anticipated. During the shoots themselves, everything was well organized, safe, and smooth. The director got more than he wanted in the first place and the entire cast and crew were left feeling content and excited about the work we had done. It was a great feeling,” told Jun.

In addition to her prowess as a producer, Jun was such a prominent member of the entire project because of her ability to speak Mandarin and address the communication barriers with her Chinese clients that hindered the project with their previous producer. Her experience working with both Chinese clients and American clients increased the value she brought to the table and it also helped her to choose cast and crew members that would compliment their shared interests. On top of that, she entered a very stressful situation when she first joined the project; however, she has an affinity for looking stress directly in the eyes and refusing to back down. She keeps her sights set on delivering her very best and knows that if she comes up short, she will have no regrets regardless. Somehow, however, she never seems to come up short in the end. She loved embracing each challenge she was handed and was proud of the final outcome. Once again, the HUAWEI Mate 10 Cellphone Commercial exceeded all of her clients’ expectations and added yet another high calibre commercial to her repertoire.

Ultimately, the commercial premiered at the cellphone’s launch event in Munich, Germany, as well as on a worldwide lifestream. It was also released on Youtube, youku.com, tencent.com, and more. To date, it has just shy of 500,000 views and counting. Jun is extremely proud of how far they came when she first joined in on the project and she can’t wait to see what additional success this advertisement will bring to the phone’s selling story. Making her beam with even more pride, however, is the fact that in June of this year, HUWAEI made another commercial for their new cell phone called NOVA 3 and hired Jun as their bilingual producer after witnessing her expertise for the HUWEAI Mate 10 Cellphone Commercial. Stay tuned for its release next month.

Producer Kegan Sant helps TELUS give back with inspiring charitable campaign

It seems funny to Kegan Sant that there was once a time where he thought he wanted to be a director. Many people going into filmmaking initially see themselves leading the film set, and Sant was no different. However, when he found his way into producing, he realized it was exactly where he was meant to be. Sant understands the nuances to the role, that it isn’t just balancing a budget. The producer is responsible for making sure every single aspect of the production goes off without a hitch. That, for Sant, is what makes it so thrilling.

“I like to be busy and being a producer, there is always something to do. No matter how simple a project is, attention to detail is everything to me. I find that fun and challenging. Not many positions offer the flexibility in schedule, opportunity to see the world and ability to employ thousands of people over short periods of time. It’s invigorating to work with different directors as everyone has unique ways of working and dynamic thought processes. It’s incredibly satisfying to conceptualize a project with a director, budget it out, execute it, and see it come to life in post,” said Sant.

Sant’s passion for what he does translates into every project he takes on. He is perhaps most well-known for his work on the Westjet Christmas Miracle, one of the first real people/real time commercials that went viral online. He also made the award-winning Grey Cup flagship commercial for the CFL, What We’re Made Of, and last year, his work on Woods Is There campaign celebrated the company’s 100th anniversary and Canada’s 150th birthday while captivating viewers across the country with stunning scenery. His work extends to film, and his movie The Bear went on to several international film festivals, taking home prizes and impressing viewers and critics alike.

Sant’s creativity is ignited when he believes in what a project represents, and his 2016 commercial for TELUS was no different. The commercial promoted #TheGivingEffect, a campaign to encourage acts of kindness. With every act of kindness, big or small, TELUS encouraged citizens across Canada to share themselves giving back to their community with the hashtag #TheGivingEffect, with the goal of having the entire nation help each other. TELUS would then select up to five individuals who took part in the challenge and award them with $5000 to donate to the charity of their choice.

“I think this campaign is important because it sways social consciousness in the direction of doing something about problems and issues they see. It lets people know that everything counts – small or big and that it doesn’t have to be material or monetary to count. Having more of that in the world is inspiring change in the right direction and I believe this stemmed from the actual employees of TELUS giving back to their own organizations, which inspired the corporation to do the same. Truly the spirit of giving,” said Sant.

The campaign began with a 90-second video with short stories ranging from an informal bottle cleanup on a beach to a young woman shaving off her long hair to support a sick friend. The tagline is “every act of giving inspires another.” The commercial was shot in over five locations in just one day in April of 2016. There was a national TV buy for this campaign and it also lived on an online platform. It was also picked up and recognized by a couple of national marketing magazines.

“I liked that we were able to defy all norms on this project, like shooting in several locations in a single shoot day with actresses that had special FX makeup, and first-time experiences like shaving their head. I liked that this project pushed boundaries and forced me to constantly think on my feet. Being able to produce a job that matched the director’s vision was incredibly satisfying and having a happy production company, agency, client and director means I did my job well,” said Sant.

What is perhaps the most interesting and challenging part of the commercial is the scene with the girl donating her hair for her sick friend. Sant had to find an actress that was actually willing to shave her head for the scene and donate her hair. He vowed that they would make it happen, despite the casting director being confident they wouldn’t find one. The director, Stash Capar, had a vision, and it involved an actress actually shaving their head. Sant made sure to deliver. At the last minute, Sant found an actress who was happy to show her support for the cause, really selling the authenticity of the piece. Because of his commitment to the project, Sant immensely impressed all those he worked with, who he now continues to collaborate with to this day.

“You know you’re in good hands with Kegan. No matter what problems befall the project, he will find solutions and the show will go on. Kegan is the hardest working producer I know.  He finds efficiencies and strategies that other producers later mimic. He is an agent of change in the world of commercials.  An example of this was the Westjet Christmas Miracle spot, which Kegan masterminded. His methods were later copied, spawning an entire genre of copycat “surprise and delight” commercials,” said Stash Capar, Director.

When Sant was given the opportunity to work on #TheGivingEffect it felt like he had come full circle. As a teenager, his first “real job” was working for TELUS in their customer service department. He remembers wondering what it would be like to produce a commercial for them one day. Getting to do so while promoting a good cause and giving back to his community was more than he could ever have dreamed of.

“It’s a great feeling to know that the project was so successful. I’m happy to have delivered a job that met the expectations of everyone involved and was instrumental in reaching people, promoting the idea of giving back. It’s on my reel as a heartfelt piece of emotional storytelling, not only for the final product itself but the messaging it shares,” he concluded.

 

Photo by Kevin Sarasom

Art Director Phenix Miao creates stunning sets for Lepow Commercials

P9Phenix Miao was eight years old when he began drawing. He believes art is part of his blood. His great grandfather owned a famous antique house in Shanghai, and that passion for design passed through generations. Growing up, his house was always full of antiquated artifacts, and even at a young age, Miao became fascinated by them. As he grew, his love for art and design only intensified and he became interested in decorating, arranging, and building a scene. There was only one path for him that made sense, and it was becoming an art director. Now, he is celebrated in both China and abroad for his art direction, and he has no plans of slowing down.

Whether it be with film, television, or commercials, Miao constantly shows viewers just how much talent he possesses. In the 2016 movie Shanghai Sojourner, Miao helped transport audiences to Japanese-controlled Shanghai during World War II. In the acclaimed film Lottery, Miao created a fairytale like world to show the euphoria of a starving, young orphan getting his hands on a winning lottery ticket. Using his commercial senses, Miao also helped raise hundreds of thousands of dollars with his work on a crowdfunding campaign for Itron Battery. He is extremely versatile with a love for what he does.

“Art direction and production design is a large part of telling a story, so I insist on harmonious and mindful designing. When I’m creating a scene, I make sure to consider the person that will be in it and whether the scene corresponds with the one who lives/uses it. Sets are like extensions of the characters,” he said.

Miao once again achieved this with his work on several commercials for Lepow. The technology company manufactures mobile accessories such as the portable power bank, external battery, and the smart bag. Starting in 2015, Miao took on the role as art director for the premiere commercial for Lepow’s TV Show Box. From there, they made a follow up commercial showcasing the product, and a year later, another long commercial showcasing the brand as a whole.

On the set, Miao was responsible for the entire visual experience. He aimed to make everything the director imagined into the scene a reality. He designed the color and artistic style, selected the best and most suitable materials, maximized every detail, and designed the design space. As the leader of the creative team, he aimed to take the big picture and divide it into small, tangible tasks that would be easy to complete within the timeframe they were working in.

Working closely with the director, Miao discussed every shot individually, wanting to understand the exact feeling the client was looking for. Every aspect was important to create an entire world in the set, from colors to the smell, even though viewers would not experience that. Miao shows such commitment to every detail of a project, that it makes everyone he works with greatly appreciate his talent.

“Phenix is a great leader of the art department and ensures everything goes smoothly. He is essential as an advisor, balancing out my ideas and feelings of the clients through his work. He is a comprehensive creator with a deep understanding of filmmaking, more so than any art director I have worked with. He is constantly curious and always eager to learn new things. In terms of production design, Phenix has an ability to take even the largest set and make everything extremely detailed. Even when I can’t describe exactly what I want, he finds a way to not only make it, but he produces work even better than I imagined,” said Peter “Zhen” Pan, Director.

Miao and Pan have worked together multiple times in the past, and Miao is always the director’s go-to art director. Their personal relationship has transformed to a friendship over many years of collaboration, and Miao knows how to transform Pan’s vision into a reality. Miao appreciates Pan’s different taste and feeling about color and the “rhythm” of the set and props compared to other directors. He understands Pan’s “language” and this connection ensures productivity and efficiency on set, as they communicate seamlessly.

“We work like a family and talk to each other directly no matter what the opinion or issue is. On set, everyone makes sure to do their best work possible. The Lepow commercials were no different. It was a great time and wonderful teamwork. All the guys try to help one another. Working on a series of commercials has allowed us to become familiar with each other, and it is a very relaxed working environment,” he said.

The campaign has been a great success both for Miao and Lepow. Despite this, Miao doesn’t think about what he has achieved when he sets his sight on a new commercial. When he sets out to make something, he expects success because otherwise he would not live up to what he knows he can do. That is what makes him such a formidable art director and production designer.

“We put so much wisdom and effort into these commercials because we had a goal, which was to make Lepow feel satisfied and see sales growth from our work. When that happens, I don’t celebrate, I just know that for the next one we should do even better. The series turned out beautiful for sure, and that is our work. That I can feel proud of,” he concluded.

 

 

Compositor Aaron Wei talks passion for the arts and working on popular commercials

Coming from a background in fine arts, Aaron Wei had been training in traditional painting since he was only a child. He spent his life imagining what he could do on the canvas, sitting in front of the blank slate for hours before commencing his first strokes. As he grew, he began using his artistic eye for photography. However, when he’d take a picture, he found himself manipulating it into something more. This is what thrilled him; sitting in front of his computer and fusing images together, taking a work of art and turning it into a masterpiece. As this hobby began taking over his life, he began wondering, what if he could do this with a moving image? It was that moment when his astounding career as a VFX compositor began.

With an extensive background in the arts, Wei knows just how to transform a scene in post-production to make his work look like it was part of the original shot. Whether working on the next anticipated blockbuster, like Zoolander 2 or Our Souls At Night, or an award-winning television show such as Quantico or The Affair, Wei knows how to transport an audience with his work. Working with The Molecule, Wei does what he loves on a daily basis.

“Aaron is one of the best talents that I have come across in my many years in the business. He stands out as an exemplary compositor who will make considerable contributions to the industry. He has a great eye and instinct that merges technical and creative skills to achieve a desired look that is extraordinary,” said Andrew Bly, CFO of The Molecule.

Wei’s all-encompassing career has him not only working on prolific film and television productions, but also national commercials. One of the highlights of his career came in 2016 crafting a spot for Toyota.

“It was the best project I hoped I could work on. It meant a lot to a relatively newcomer in this industry, like a milestone, so to speak. This project included some futuristic scenes with spaceships, space and planets, the scale of visual effects work I had never touched at the time. I was crazy about it,” said Wei.

The commercial for the Toyota Prius followed a boy that always looked into the sky, and one day, he realized his dream. He went to another planet and watched earth from there. Wei was lead compositor in this project. He composited the planets in the main scene, and a number of other shots.

One of his shots was from the World Trade Center observation deck, where the child ran over to the window and he looks into the sky. When looking at the city from such height, everything on the ground is very tiny. In the original shot, the view in the window was not recognizable, so Wei had to ensure that the viewer could understand that it was Manhattan. In the shot, he swapped the window view to a much closer up photograph of the Manhattan skyline so that audiences could see everything.

He worked on almost every other scene, responsible for the majority of the visual effects for the commercial, which relied heavily on this.

After the success of the Toyota commercial, Wei once again worked with a car brand in 2016. This time, it was for Smart Car. This commercial project was made to focus on the features of the Smart Car. They turn fast, are easy to park, and capable of going uphill. There were a lot of shots, and Wei helped to clean-up the background, from editing trees and removing the crowds. Smart Car is owned by Mercedes-Benz, and Wei was more than eager to collaborate with such a renowned brand.

“You know when you shoot something in public, there will be a lot of brand names on the street, air conditioners on the wall, satellite disks on the roof, pedestrians, trees etc. I had to clean up all those. I did a matte-painting for the White House background shot. In DC, it’s not possible to shoot a commercial in front of the White House, so for that, I had to recreate the scene from a bunch of photographs. I cleaned up the crowds in the photo, painted the lawn in front of it, and wiped out all the cars in the street,” Wei described.

The entire experience was awesome for the compositor, who loves the fast-paced working environment of a commercial. He looks forward to working on many more throughout his career.