SJ Golden Associates, Inc. - Combination PDF with sampling of press coverage for a mix of creative content companies

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Sampling of Press Coverage
Sherri Golden
Director of Strategic Marketing + Public Relations
SJ Golden Associates, Inc.
300 East 34th
Street, Suite 26C
New York, NY 10016
p: 212.683.1777
c: 212.683.9672
sherri@sjgoldenpr.com

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COMMUNITY | APRIL 06, 2010 | 0 COMMENTS
Artistic Image Launches The Southeast’s First Hybrid
Live-Action, FX, Animation, Graphics & Editorial House
With A Concept Through Completion Design-Driven
Approach To High-End TV Spots, Web Content, Promos &
Print Media
Groups: Community
Tags: Design, Animation, Atlanta, VFX, 4 more
0 comments // Artistic Image Launches The Southeast’s First Hybrid Live-Action, FX, Animation,
Graphics & Editorial House With A Concept Through Completion Design-Driven Approach To High-End TV
Spots, Web Content, Promos & Print Media
Atlanta: Designer/director/illustrator Ed Dye, and director/editor Ken Soons -
awarding winning-talents in their own right - have partnered up with business savvy
CEO Michael Zarrillo to launch Artistic Image, a new hybrid design-driven live-
action production, CGI, animation, character development, finishing house - and
go-to creative resource for out-of-the-box ideas and concept development.
With Soons’ recent creation of a live-action productions arm, and the completion of
a stunning studio complex in Atlanta’s trendy King’s Plow Center - the former print
effects company has redefined itself, creating the Southeast’s first world-class
concept through completion studio offering a level of artistry that previously could
only be found at premiere east and west coast facilities. Driven by a strong design
aesthetic and passion for their craft, its collaborative team of talent gives form to
fresh ideas, while heightening the connections between consumers and brands with
TV commercials, web content, viral, and print media that captivates the eye and
engages the senses.
“Our goal was to create a design-drive company where a team of top-caliber
directors, designers, producers, visual effect artists, animators, illustrators, editors
and compositors work under one roof with unfettered access to each others’
creative input throughout every phase creative process.“ concur Dye and Soons.
“Involved in each project from its inception, they work as a creative unit to develop
their shared vision and create a final product that consistently exceeds our clients’
expectations.”
“Equally important to us was to create a company with the ability to maintaining a
strong infra-structure with the flexibility to provide transparent workflow, freeing our
artists to focus their full attention on coming up with innovative ideas and creative
solutions,” adds Soons.
Zarrillo and Dye first partnered up in 1996, developing the first incarnation of the AI,
a design and art services company dedicated to providing the print industry with
photography, illustrating, visual effects and retouching services. In 1998 they
formed a new division, Artemis Creative, to meet the specific needs of the growing
point-of-purchase/promotional design niche within the print arena.
Dye’s personal vision was to expand as an artist, and transition his design aesthetic
into the realm of motion effects. In 2007 he began handpicking a team of innovative
animators and CGI artists and investing in the kind of cutting-edge equipment
needed to attract the most challenging visual effects-driven television spots. This
animation/CGI division has already been called upon by a roster of high-profile
clients such as Turner Networks, Ford and Coca-Cola, to name a few.
In 2008, when Ken Soons, an award-winning live-action director with a passion for
design, joined the partnerships – all of the elements were in place to take AI to the
next level with the creation of the region’s first concept through completion live-
action/visual effects house.
The trio of partners were commitment to keeping the company’s original name,
rebranding Artistic Image to reflect its rebirth as the umbrella for a diverse family of
integrated visual effects, animation, live-action production, and experimental print
divisions dedicated to the advertising arena.
As architects began designing the award-winning space that would house the full-
services company’s multi-disciplined roster of artists and services, the partners
focused honing their talent roster, purchasing and installing the newest technology
and fine-tuning their infrastructure and over-the-top client services for the soft
launch of the company in the spring of 2009. With its restructuring completed,
Artistic Image made a flawless debut when it officially launched its new brand in
April 2010.
“With the launch of Artistic Image, we created an open-architecture creative
environment where a tsunami of synergy between a mix of multi-disciplined talent
elevates the level of artistry to new heights,” notes Dye. “An uncompromising
commitment to ground-breaking design, passionate talent, our signature approach
and a commitment to innovate, fresh creative solutions sets it apart from the
crowd.”
“Directors, designers, animators and CGI artists have the advantage of
collaborating from the inception of each project with a single vision and build a
creative partners with our clients.”
Soons worked at A Band Apart Commercials as postproduction supervisor before
going out on his own as an editor, and ultimately bringing his experience in the post
and VFX arena to his role as director. A prestigious roster of clients - such as J.
Walter Thompson, Chiat Day, TNT, Cartoon Network and CNN - have called upon
his talents.
“The skills and reputation Ken brings to the table are invaluable,” says Dye. “Not
only is he the perfect complement to our CGI, animation and design team, he
created a production division for Artistic Image, which is on par with the best in the
nation.”
Designer/director Ed Dye helms Artistic Image’s design/FX division, providing
creative direction as he guides projects in the realm of CGI, 3D Imaging, effects,
motion graphics animation, character generation, broadcast design, compositing,
editing, digital illustration and creative imaging. His credits include directing and
creating the look for the 2009 and 2010 Latin America Academy Awards Show, and
The Global Globe awards for TNT/Latin America, Ford and AT&T.
Artistic Artist’s is located in the heart of West Atlanta’s historic King Plow Art
Center, where hip restaurants, bars, and boutiques abound. Designed by
architectural firm AI3, the spacious building, formerly an old plow factory, has won
awards for its extraordinary interior design, which reflects Artistic Image’s unique
personal style and creative sensibilities.
The expansive studio complex is a sun-drenched, loft-like, open-architecture
space. The stunning design incorporates a comfortable lounge with a full kitchen
that provides clients with a relaxing haven where they can pass the time playing
video games, watching cable TV, accessing the Internet or hunkering down in quite
client workstations to catch up on work. A spacious multi-purpose conference
room with a large flat screen TV, Internet access and a Mac-mini for presentations,
provides additional space. Clients also gather in AI’s charming outdoor courtyard ,
where they can enjoy al fresco dining and coffee breaks while soaking in the sun.
The company’s editing, animation, finishing and visual effects suites are housed in
an annex adjacent to the main building. Complete with its own lounge, kitchen area
and amenities it provides all the creature comforts and is connected to the main
complex through fiber optics. Architects are currently drawing up plans for the
extensive redesign of this building, which is slated begin this summer.
Artistic Image (Atlanta) is a world-class creative resource where a passionate
collective of innovative A-list live-action directors, producers, designers, animators,
CGI artists, illustrators, editors, compositors, modelers and finishers take each job
from concept to fruition as a collaborative team. Dedicated to the advertising arena,
this hybrid company takes a design-driven approach to crafting high-end TV
commercials, virals and broadcast design in a nimble, open-architecture creative
environment that provides seamless workflow and premiere client services.
For additional information please visit: www.artisticimage.com, or contact Michael
Zarrillo at 404.815.1550.
#
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“The level of collaboration with producer/senior writer Jennifer Day at TNTLA and producer Lauren Thomas at Turner
Studios Productions was key to every stage of the process. Working in tandem with Jenni and Lauren allowed us to
maximize the efficiency and creativity of this mega-size package, and create a final product that exceeded everyone’s
expectations,” says Soons
“Our Senior Director of Operations, Karen Grill, and I had been looking to do a hosted show that would be ideal not only
for product placement and sponsorship, but also to give the audience something more in-depth about films,” says Day.
“In South America, TNT is predominantly a movie network, so this type of hosted show highlights our strengths as being
in-the-know about movies.”
TNT Movie Club features a male and female host watching the show together as they banter about different aspects of
the film. Sometimes the segments are set in the kitchen as they chat about interesting aspects of the evening’s film.
Other segments take place in living room and office settings, where the pair comment on their favorite scenes, discuss
the movie’s special effects and offer up fun behind-the-scene facts.
For instance, the Michael Bay feature “The Island” has a chase-action scene in which giant metal spools fly off of a
truck and catapult directly into the camera lens. “I always wondered how the director did that,” says Soons. “During the
How-Did-The-Do-That segment the hosts give viewers behind-the-scenes insights into how these effects were
achieved.”
“Jenni did an amazing job researching the movies and writing engaging scripts that both entertain and inform, while
maintaining a natural, conversational tone - and the personalities of the hosts brought them to life,” notes Soons. “We
encouraged the talent to adlib, which created some of the best moments - and working with two cameras ensured that
we caught them.”
Each scene was shot with two Sony EX3 cameras - one wide and one tight. The file based cameras facilitated tapeless
and seamless digital workflow, which allowed for editing and color correction without any generation loss. Soons edited
and color corrected the entire package on Artistic Image’s Final Cut Pro Suite. This also made it easy to deliver both HD
and SD masters of the show and streamlined the workflow to meet a strict deadline schedule.
Soons, who has directed a long roster of international promos and spots, including other campaigns for TNTLA, is skilled
at directing for the global arena, and enjoys the opportunity to work on live-action projects for a mix of markets. The
award-winning director brings the eye of an editor to each shoot, enabling him to maximize the efficiency of a project
and work with tight deadlines. At the same time the seamless workflow maximizes production value – both during the
production phase and in the cutting room.
“Whether I’m working on a project for the international or US market, working together with clients and having an open
creative exchange always elevates the work. The collaboration between Artistic Image, TNT Latin America and Turner
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production and visual effects and animation to create high-end design driven spots,” adds Soons. “So it’s always
refreshing to shoot a live-action project that doesn’t involve special effects and solely relies on my skills as a director
and editor to tell a story.”
WWW.ARTISTICIMAGE.COM
HOME COLUMNS CLASSIFIEDS EVENTS CONTACT ABOUT USHOME COLUMNS CLASSIFIEDS EVENTS CONTACT ABOUT US

All News
Revamped Artistic Image Launches in Atlanta
4/19/2010 12:00:00 AM
PromaxBDA
From left, Ed Dye and Ken Soons
Designer/director/illustrator Ed Dye and director/editor Ken Soons have partnered
up with CEO Michael Zarrillo to launch Artistic Image, a new Atlanta-based hybrid
design-driven live-action production, CGI, animation and character development
finishing house.
and compositors work under one roof with unfettered access to each others’
creative input throughout every phase creative process,” concur Dye and Soons.
“Involved in each project from its inception, they work as a creative unit to develop
their shared vision and create a final product that consistently exceeds our clients’
expectations.”
Zarrillo and Dye first partnered up in 1996, developing the first incarnation of the
AI, a design and art services company providing the print industry with
photography, illustrating, visual effects and retouching services.
In 2007, Dye began putting together a team of animators and CGI artists and
investing in cutting-edge equipment for the creation of visual effects-driven
television spots. Soons joined the partnership in 2008, and the trio has since
conspired to take AI to the next level as the region’s first concept-through-
completion live-action/visual effects house.
After a soft launch in spring 2009, the restructured Artistic Image officially launched
its new brand in April 2010, with a new space located in West Atlanta’s historic
King Plow Art Center.
“Our mission is to provide the ultimate resource for creative direction and execution
with a top caliber team of talent that has cutting-edge technology at their
fingertips,” notes Zarrillo. “Artistic Image has created a dynamic, visually exciting
space with a level of support services and creature comforts that leave clients
looking forward to coming back.”
About Artistic Image
Artistic Image (Atlanta) is a world-class creative resource where a collective of
innovative live-action directors, producers, designers, animators, CGI artists,
illustrators, editors, compositors, modelers and finishers take each job from concept
to fruition as a collaborative team. Dedicated to the advertising arena, this hybrid
company takes a design-driven approach to crafting high-end TV commercials,
virals and broadcast design in a nimble, open-architecture creative environment
that providing seamless workflow and an abundance of client services.
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AI photo two chairs.jpg (272.97 KiB) Viewed 45 times
Southeast’s First Hybrid Live-Action, FX, Animation House
by ashras99 » 06 Apr 2010, 19:39
Artistic Image Launches The Southeast’s First Hybrid Live-Action, FX,
Animation, Graphics & Editorial House
Designer/ director/illustrator Ed Dye, and director/editor Ken Soons - awarding
winning-talents in their own right - have partnered up with business savvy CEO
Michael Zarrillo to launch Artistic Image, a new hybrid design-driven live-action
production, CGI, animation, character development, finishing house - and go-to
creative resource for out-of-the-box ideas and concept development.
With Soons’ recent creation of a live-action productions arm, and the completion of
a stunning studio complex in Atlanta’s trendy King’s Plow Center - the former print
effects company has redefined itself, creating the Southeast’s first world-class
concept through completion studio offering a level of artistry that previously could
only be found at premiere east and west coast facilities. Driven by a strong design
aesthetic and passion for their craft, its collaborative team of talent gives form to
fresh ideas, while heightening the connections between consumers and brands with
TV commercials, web content, viral, and print media that captivates the eye and
engages the senses.
and compositors work under one roof with unfettered access to each others’ creative
input throughout every phase creative process.“ concur Dye and Soons. “Involved in
each project from its inception, they work as a creative unit to develop their shared
vision and create a final product that consistently exceeds our clients’ expectations.”
“Equally important to us was to create a company with the ability to maintaining a
strong infra-structure with the flexibility to provide transparent workflow, freeing
our artists to focus their full attention on coming up with innovative ideas and
creative solutions,” adds Soons.
Zarrillo and Dye first partnered up in 1996, developing the first incarnation of the AI,
a design and art services company dedicated to providing the print industry with
photography, illustrating, visual effects and retouching services. In 1998 they
formed a new division, Artemis Creative, to meet the specific needs of the growing
point-of-purchase/promotional design niche within the print arena.
Dye’s personal vision was to expand as an artist, and transition his design aesthetic
into the realm of motion effects. In 2007 he began handpicking a team of innovative
animators and CGI artists and investing in the kind of cutting-edge equipment
needed to attract the most challenging visual effects-driven television spots. This
animation/CGI division has already been called upon by a roster of high-profile
clients such as Turner Networks, Ford and Coca-Cola, to name a few.
In 2008, when Ken Soons, an award-winning live-action director with a passion for
design, joined the partnerships – all of the elements were in place to take AI to the
next level with the creation of the region’s first concept through completion live-
action/visual effects house.
The trio of partners were commitment to keeping the company’s original name,
rebranding Artistic Image to reflect its rebirth as the umbrella for a diverse family of
integrated visual effects, animation, live-action production, and experimental print
divisions dedicated to the advertising arena.
As architects began designing the award-winning space that would house the full-
services company’s multi-disciplined roster of artists and services, the partners
focused honing their talent roster, purchasing and installing the newest technology
and fine-tuning their infrastructure and over-the-top client services for the soft
launch of the company in the spring of 2009. With its restructuring completed,
Artistic Image made a flawless debut when it officially launched its new brand in
April 2010.
“With the launch of Artistic Image, we created an open-architecture creative
environment where a tsunami of synergy between a mix of multi-disciplined talent
elevates the level of artistry to new heights,” notes Dye. “An uncompromising
commitment to ground-breaking design, passionate talent, our signature approach
and a commitment to innovate, fresh creative solutions sets it apart from the
crowd.”
“When Ken joined the partnership, he already had a keen appreciation of the value of
the relationships forged between artists when they work together as a team,” notes
Dye. “As a director he was ahead of the curve, drawing upon his talents as an editor
to make the production process more efficient and raise the level of his work.”
“I always felt that directing was a natural extension of editing,” notes Soons. “Going
into a shoot with an editor’s eye gives me the advantage of knowing when I have the
shot I need, makes the shoot more efficient and allows me the time to experiment.”
“However, Artistic Images takes this approach to another level by removing all the
walls that traditional separate talent,” adds Soons. “Directors, designers, animators
and CGI artists have the advantage of collaborating from the inception of each
project with a single vision and build a creative partners with our clients.”
Soons worked at A Band Apart Commercials as postproduction supervisor before
going out on his own as an editor, and ultimately bringing his experience in the
post and VFX arena to his role as director. A prestigious roster of clients - such as J.
Walter Thompson, Chiat Day, TNT, Cartoon Network and CNN - have called upon his
talents.
“The skills and reputation Ken brings to the table are invaluable,” says Dye. “Not
only is he the perfect complement to our CGI, animation and design team, he
created a production division for Artistic Image, which is on par with the best in the
nation.”
Designer/director Ed Dye helms Artistic Image’s design/FX division, providing
creative direction as he guides projects in the realm of CGI, 3D Imaging, effects,
motion graphics animation, character generation, broadcast design, compositing,
editing, digital illustration and creative imaging. His credits include directing and
creating the look for the 2009 and 2010 Latin America Academy Awards Show, and
The Global Globe awards for TNT/Latin America, Ford and AT&T.
In addition to Dye and Soons, the company is home to an accomplished roster
artists who never limit themselves to traditional solutions or boundaries when
seeking the ideal creative solution. The full-time roster includes animation
director/character developer, Daniel Wiggins, animator Daniel Barnes, senior lighter
Lee Kordel, Motion Designer Byron Segundo: modeler, Lighter/modeler Jeff Ling and
producer Jim Threlkeld. The collective of talent works as a unit as they take
traditional commercials, cross-platform campaigns, web-based media, network
promos, long-form films and music videos from concept to fruition under one roof.
Artistic Artist’s is located in the heart of West Atlanta’s historic King Plow Art Center,
where hip restaurants, bars, and boutiques abound. Designed by architectural firm
AI3, the spacious building, formerly an old plow factory, has won awards for its
extraordinary interior design, which reflects Artistic Image’s unique personal style
and creative sensibilities.
The expansive studio complex is a sun-drenched, loft-like, open-architecture
space. The stunning design incorporates a comfortable lounge with a full kitchen
that provides clients with a relaxing haven where they can pass the time playing
video games, watching cable TV, accessing the Internet or hunkering down in quite
client workstations to catch up on work. A spacious multi-purpose conference room
with a large flat screen TV, Internet access and a Mac-mini for presentations,
provides additional space. Clients also gather in AI’s charming outdoor courtyard ,
where they can enjoy al fresco dining and coffee breaks while soaking in the sun.
The company’s editing, animation, finishing and visual effects suites are housed in
an annex adjacent to the main building. Complete with its own lounge, kitchen area
and amenities it provides all the creature comforts and is connected to the main
complex through fiber optics. Architects are currently drawing up plans for the
extensive redesign of this building, which is slated begin this summer.
Before Artistic Image officially opened it’s doors, it was called upon by JWT Detroit to
conceive and produced its first high-profile project, ‘Ford Sync Universe,’ an FX-
driven TV, print and web campaign showcasing Ford’s Sync, their innovative in-car
product.
Targeting the youngest demographic of driver, Dye designed and created a
surrealistic look at the future of automobiles’ integration with the hottest portable
device in a fast-paced, visually compelling environment occupied by stylized anime
figures inspired by action video game. Each character was placed inside their own
futuristic, interactive world within Ford Sync, where they linked up and
communicated with each in a shared experience. The campaign was traced through
web hits and print ad tie ins that requested consumers to bring the ad in when
buying the car, allowing the client to gauge its resounding success: more Ford Sync
models were sold than any other car that year.
AI seamlessly integrated live-action and animation in a recent campaign for Adair
Greene/Stieffel. Soons and Dye brought the company’s signature full-service
approach to the project, which Artist Image’s team conceived, designed, shot, edited
and animated. This series of spots combines live-action and animation – and
integrate beauty and fun, with an edgy, dark comedy feel.
Artistic Image already has a number of jobs slated for the sprint, including the
design and production of a stunning digital media project for Ferrari, which will
premiere as the centerpiece for the Ferrari museum in April.
“Our mission is to provide the ultimate resource for creative direction and execution
with a top caliber team of talent that has cutting-edge technology at their
fingertips,” notes Zarrillo. “Artistic Image has created a dynamic, visually exciting
space with a level of support services and creature comforts that leave clients
looking forward to coming back. The feedback we’ve been getting from the agencies
has been beyond our expectations – and we’re committed to continuing to the raise
the bar, as we redefine the creative landscape of the Southeast region.”
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T
Artistic Image Triples Its Space With Purchase Of A Building
by ashras99 » 09 Jan 2013, 18:02
Artistic Image Triples Its Space With The Purchase Of A Building, And Its
Transformation
Into Atlanta’s Most Comprehensive Full-Service Creative Complex For Cross-
Platform Media Content
The Multi Award-Winning Hybrid Design/VFX/Animation Boutique & Artemis
Creative, Its Sister Design & Print Company, Compliment Their Offerings With
The Launch Of A STUDIO - A New Hollywood-Scale Rental Studio, As Well As
Editorial Suites For Hire - All Under One Roof
Artistic Image, the multi award-winning design-driven, CGI, animation, editorial and
production boutique, and its sister company, Artemis Creative, the veteran full-
service design/print house, have moved from their separate digs to a shared 17,000
square foot building on Antone Street, in midtown Atlanta’s burgeoning arts Mecca.
The two companies also welcome a new sibling to the fold - A STUDIO, one of the
city’s largest full-service rental studios. Custom designed to create an open-
architecture, full-service creative environment, the trio of companies, along with the
newly launched Parhelion Recording Studios, a music/sound house featuring
Grammy-winning talent, the 684 Antone building provides a seamless one-stop
environment for a mix of cross-platform media content for the advertising,
broadcast television, film, print, digital content and music industries.
Artistic Image partners, director/editor Ken Soons & director of VFX, Ed Dye
92d35a75e70191bc1302b8e08f78c19ef9c4d346.png (99.49 KiB) Viewed 81
times
“The ideal scenario was always for Artistic Image and Artemis Creative to reside
under one roof, but the move required much more than bringing in architects to
design a great looking, functional work environment that integrated the two
companies,” says co-owner and director of visual FX, Ed Dye. “We had to refine our
infrastructure to ensure that we would maintain the kind of transparent workflow
that allowed us to excel as individual companies, and leave our artists free to focus
their full attention on coming up with innovative ideas and creative solutions.”
Artistic Image and Artemis share the sun-drenched main floor of the building,
which features three Avid edits suites, a bull-pen with 10 design/VFX stations, two
conference rooms, a full kitchen, dining area and a client lounge with all the
creature comforts of home. It also houses executive creative suites for Dye, and co
owner/director/editor Ken Soons, along with offices for partner/CFO Michael
Zarrillo, creative director Corwin Carter, and sales director Dave Warner.
“We now have a huge single-floor space that houses our combined staff of over 30
artists and producers, as well as a steady stream of freelancers to take advantage of
the additional suites designated specifically for rental,” says Dye. “The tsunami of
synergy between this mix of multi-disciplined talent makes for an inspiring and
exciting creative atmosphere.”
room.png (118.78 KiB) Viewed 81 times
Dye heads up Artistic Image’s full-time roster of talent, which includes animation
director/character developer Daniel Wiggins, senior lighter Lee Kordel,
lighter/modeler Jeffrey Ling and motion designer Randall Champagne.The
collaborative team has provided a full-service approach to a diverse mix of
commercials, promos, opens, program content, IDs, and emerging media for a
prestigious roster of work that includes projects for Ford, Hasbro, Coca-Cola, TNT
Latin America’s graphic package for the Billboard Music Awards, an award-winning
campaign for Cinryze Swell (Dudnyk Agency), a Guinness campaign for the Pro
Football Hall of Fame (Colangelo), as well as recent projects for Miller Coors and
Coors Light (Integer).
Director/editor Ken Soons came onboard in 2008 to help the launch of Artistic
Image’s live-action studio, which continues to attract a mix of work from networks,
agencies and brands. TNT Movie Club, Kids Foot Locker Hall of Game and Kellogg's
are among the clients that have called upon AI’s live-action production services, as
well as tapped into its one-stop integrated CGI and design capabilities to create
seamless, cost-effective cross-platform media content.
The move to their new spacious digs has allowed the family of companies to expand
their offerings in the production arena and meet the growing demand for high-end,
full-service live-action and print production. A STUDIO, housed on the ground floor
offers a 4,000 square foot stage, 20 x 40 x 13-foot high cyc, three-phase 600
amps power, a drive-in loading dock, green room, wardrobe and make-up areas,
kitchen, lounge, meeting space and a parking area that accommodates over 50
vehicles. Conveniently located just blocks off I-75, the new full-blown studio
complex, along with state-of-the Avid suites designated for rental to freelancers,
makes available a scope and caliber of space and services for large-scale live-action
and print shoots that change the landscape of Atlanta’s production industry.
Artemis Creative, a full service POP and collateral print house has built a reputation
for providing clients with both captivating concepts and seamless execution.
Michael Zarrillo heads up Artemis’ team, which includes creative director Corwin
Carter, production manager Diane Weber, graphics artists AniQuay Howell, Randy
Sizemore, Lee Breed, Rich Johnson, David Wise and Josh Strait and account
executives Laynie Bird, Christie Bell, Molly Yates, Nicole Beers and Fran Chandler.
"Our goal was to create an open-architecture work environment where Artistic
Image and Artemis Creative’s multi-disciplined talent had unfettered access to each
other during the creative process,” says Dye. “Equally important was the ability to
provide clients with a bridge to multiple platforms - from traditional broadcast
commercials, graphic packages, promos, live-action content, print, point of
purchase and promotional design - to new media. Our new space accomplishes that
and more – and the response we’re getting from clients and freelances has been
overwhelming,” adds Zarrillo.
“The addition of A STUDIO provides the kind of top-caliber rental stage and
comprehensive roster of production support services needed to allow out-of-house
talent to access the full scope of our resources,” says Soons. “The vastness of our
new space is amazing. It gives us room to continue to grow as we take our clients’
experience - and our concept-to-completion approach to creating truly seamless
multi-platform media content to the next level.”
The newly launched Parhelion Recording Studios rounds out 684 Antone’s offerings.
A showcase for the talents of Grammy-winning mixers Ralph Cacciurri and Miles
Walker, the hybrid digital and analog sound company is home to three world-class
studios offering recording, mixing, music production and mastering services.
"Bringing together the creative resources of Artistic Image, Artemis Creative, A
STUDIO and Parhelion Recording Studio in one space has created a unique and
dynamic creative resource,” says Zarrillo. The caliber of talent, technology, support
services and creature comforts that our collective companies offer has raised the
bar, and is redefining the creative landscape of the Southeast region."
Over the years Artistic Image has garnered a steady stream of awards, including
Telly's 2012 Bronze Awards for the PG&E campaign, ‘Power a Brighter Future’
(Category: Outdoor / Environmental - Non-Traditional), a digital spot for Trokar Zen
(Category: Internet/Online Commercial - Sports/Sporting Goods/Games), ‘Coffee To
Go,’ an innovated animation/live-action campaign for Illy (Category: Outdoor /
Environmental – Transit), and Cartoon Network’s Footlocker campaign, ‘Hall of
Game Awards’ (Category: Regional TV & Multi-Market Cable - Children's Audience).
Artemis’ unparalleled experience in various segments ranging from shopper
marketing, foodservice and sports marketing has earned Artemis numerous Hermes
Gold Awards from 2009, 2010 and 2011. Product launches for National Fortune 100
companies is also part of Artemis’ experience in taking brands to market. The full
service, fully integrated agency is always on the cutting edge of creativity, pulling
from their experienced staff and a passion for their clients to be most successful.
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Artistic Image Triples Its Space With Purchase Of A Building
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Artistic Image Officially Launches The Annex @ AI, An Up-Scale
Creative Haven For Talent + Clients Alike
SJ Golden Associates, Inc. PR/Marketing July 4th, 2011
Atlanta: Artistic Image, the multi award-winning design, CGI, animation,
live-action production, and editing company,
has launched The Annex @ AI, expanding its
capabilities and taking its client services to the
next level with the transformation of a space in
a building adjacent to its main studio complex.
Custom designed and rebuilt from the ground
up, The Annex’s boutique work environment
shares the same award-winning interior design
aesthetic, while distinguishing itself with the
dramatic scale of its layout. Super-sized suites and common areas provide an up-scale
creative haven with the flexibility to function as an autonomous, private creative space, or an
extension of AI’s main facility. The expansion offers agencies, networks, corporations and
filmmakers access to the company’s full roster of multi-disciplined talent and seamless one-
stop approach to taking commercials, graphic packages, web-based media, network promos,
long-form films, broadcast programming and music videos from concept to delivery.
The Annex @ AI houses a spacious new suite where Ed Dye partner and director of
postproduction and visual FX, now resides, as well as a large motion graphics suite where
recently signed graphic artist Owen Chikazawa is based. The centerpiece of The Annex is the
company’s unique and versatile second conference area. The sleek, modern space is large
enough to accommodate everything from screening and meetings to events and provides
every amenity.
“Having a dedicate suite, custom designed to meet my every need, allows me to work with
clients in a private setting and provides AI’s team of artists with a space where they can focus,
without distractions, on coming up with the most innovative creative solutions for each project,”
notes Dye, who helms and provides the creative direction for every job that comes through
Artistic Image’s doors.
“At first the size of the room seemed almost decadent,”
adds Dye. “But it soon became apparent that working in
an environment tailored to our collaborative approach
to every phases of the creative process made us more
effective and efficient.”
The completion of The Annex marks the company’s
most recent expansion since Dye and executive
producer/CEO Michael Zarillo joined forces in 1996 to
launch the first incarnation of Artistic Image as a
premiere design and graphic art services boutique.
Over the years they have built upon that strong
foundation guiding the AI’s transition into a full-services
motion graphics and animation boutique and integrating
virtually every creative discipline into their business
model.
In 2008 Ken
Soons, an award-winning live-action director
and editor, joined the partnership and
launched AI’s production arm, creating the
region’s first concept through completion live-
action, design, CGI, animation and editorial
house. That same year architects completed
the transformation of an old plow factor in
West Atlanta’s historic King Plow Art Center
into a stunning, expansive new home for AI,
creating a world-class full-service resource for
high-end media content that changed the creative landscape of the region.
Now, just three-years later, The Annex @ AI responds to the needs of a growing and diverse
roster of clients with a one-of-a-kind work environment that is raising the creative bar yet
again. The addition doubles the number of FX suites at AI – and heralds the next phase of its
expansion.
“The Annex has increases our capabilities and makes room for new talent as we continue to
grow,” says Soons, Ai’s director of production. “It also takes our clients’ experience to the next
level and makes our concept through completion approach truly seamless.”
“As Artistic Image evolves it continues to reflect our company’s personal style and provide
clients with an inspiring work environment,” adds, Zarillo, “However, our focus has always
been talent-driven, and our top-caliber team is what sets us apart from the crowd.”
Designer/illustrator Ed Dye and director/editor Ken Soons head up an accomplished roster
artists that includes animation director/character developer, Daniel Wiggins, animator Daniel
Barnes, senior lighter Lee Kordel, lighter/modeler Jeff Ling, producer Lauren Bleakney and the
newest addition to the team, motion graphics artist Owen Chikazawa. AI also taps into a
handpicked mix of world-class international talent that brings a fresh, global design
perspective to the company’s work.
For the fifth consecutive year, AI’s work was
recognized at the 2011 Telly’s garnering six
awards in the CGI + VFX Category, including
top honors for a series of videos for Ferrari,
showcased at The Ferrari Museum at
Dubailand.
ABOUT ARTISTIC IMAGE: Artistic Image
(Atlanta) is a world-class creative resource
where a passionate collective of innovative A-
list live-action directors, producers, designers,
animators, CGI artists, illustrators, editors,
compositors, modelers and finishers take each
job from concept to fruition as a collaborative team. Dedicated to the advertising arena, this
hybrid company takes a design-driven approach to crafting high-end TV commercials, virals
and broadcast design in a nimble, open-architecture creative environment that provides
seamless workflow and premiere client services.
Artistic Image has established itself the go-to creative resource in the region, and built a
reputation as a reliable full-service resource for fresh, innovate media content. For additional
information please visit: www.artisticimage.com, or contact Michael Zarrillo at 404.815.1550.
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8/4/13 8:48 AMWilde Salome: Venice Film Review - The Hollywood Reporter
Page 1 of 4http://www.hollywoodreporter.com/review/wilde-salome-venice-film-review-231024
!"#$%&'(#)*%+&,%-".%&/"#*&0%1"%24:36 PM PDT 9/3/2011 by Deborah Young
Subscribe Newsletters Daily PDF Register Log inIndustry ToolsFollowFollow
Email (#) Print (/print/231024)
34%&5)66)*&7"-%
Al Pacino passionately explores the
Oscar Wilde play Salome in a complex
but engrossing doc.
,%-8%
Venice Film Festival
(Out of Competition)
9":%.6):
Al Pacino
;(<6
Al Pacino, Jessica
Chastain, Kevin
Anderson, Estelle
Parsons, Roxanne Hart,
Barry Navidi, Joe
Roseto
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G<.(:&!"#$%H<&I'(#)*%I&F#(JK
More personal and obsessive than his 1996 Shakespeare documentary Looking for Richard, with
which it has much in common, Al Pacino’s long-in-the-making Wilde Salome is both an intriguing
exploration of Oscar Wilde’s play about the destructive use of sexuality and an intimate self-portrait of
the actor/director as he over-extends himself into performing Salome on stage and shooting a film --
this film -- at the same time. Playing mostly himself but also King Herod and, in one scene, Oscar
Wilde, with whom he toys with identifying, Pacino is the creator and real subject of the work. For all
its esotericism, the film can count on the star appeal of veteran Pacino and rising star Jessica
Chastain, fascinating in the role of Salome, to take wing with specialized auds following its Venice
bow out of competition.
PHOTOS: Venice Film Festival: 10 Movies to Know (http://www.hollywoodreporter.com/gallery/venice-
film-festival-10-buzz-229397)
Fifteen years after his first directing stint exploring Richard III, Pacino is older but as curious and
energetic as ever, hammy, moody and likeable by turns. Researching Salome, which he performed
twice on stage, becomes an “obsession” as he struggles to find the right mixture of the play, Wilde,
himself making the play and making a movie about all of the above. Editors Roberto Silvi and David
Leonard do a Herculean job compiling very disparate material into an engrossing, smooth-flowing
film.
PHOTOS: The Scene at the Venice Film Festival (http://www.hollywoodreporter.com/gallery/scene-at-
venice-film-festival-229821)
0 0 0 0 0 Comments
(http://www.hollywoodr
eporter.com/review/wild
e-salome-venice-film-
review-
231024#comments) (1
eporter.com/node/2310
24#disqus_thread) )

8/4/13 8:48 AMWilde Salome: Venice Film Review - The Hollywood Reporter
Page 2 of 4http://www.hollywoodreporter.com/review/wilde-salome-venice-film-review-231024
Email (#) Print (/print/231024)
AL PACINO (HTTP://WWW.HOLLYWOODREPORTER.COM/CATEGORY/ENTITIES/PEOPLE/AL-PACINO)
INTERNATIONAL (HTTP://WWW.HOLLYWOODREPORTER.COM/NODE/13292)
VENICE INTERNATIONAL FILM FESTIVAL (HTTP://WWW.HOLLYWOODREPORTER.COM/TOPIC/VENICE-INTERNATIONAL-FILM-
FESTIVAL)
WILDE SALOME (HTTP://WWW.HOLLYWOODREPORTER.COM/CATEGORY/PROJECTS/MOVIES/WILDE-SALOME)
0 0 0 0 0 Comments
eporter.com/review/wild
e-salome-venice-film-
review-
231024#comments) (1
by Taboola (//www.taboola.com/popup?template=colorbox&utm_source=thr&utm_medium=bytaboola&utm_content=horizontalx4:horizontalx4:)!"#$%"&'(&")*
As in Looking for Richard, it is a treat watching skilled actors build their performances during
rehearsal, particularly the luminous young Chastain (this is her first film role), Kevin Anderson as
Jokanaan/John the Baptist and Roxanne Hart playing Salome’s smarmy mother Herodias. Large
chunks of the play are performed in three formats: as a reading in an L.A. theater before an audience,
recreated on a sound stage, and with a different cast in the middle of a desert, the least necessary part
of the film.
Pacino describes how he felt increasingly drawn to Wilde as he investigated his life and its influence on
the play. Travelling to New York, Dublin, London and Paris, he interviewed luminaries like Tom
Stoppard, Gore Vidal, Bono, Tom Kushner and Wilde’s grandson Merlin Holland, all of whom have
something interesting to say. A married man who doted on his children, Wilde fell in love with a young
aristocrat and was arrested and sentenced to two years of hard labor in Reading Gaol, under a new
English law that punished homosexuality. From being the toast of society and the most famous writer
of his day, he found himself disgraced, ill, impoverished and alienated from his beloved children.
Pacino’s professed identification with Wilde seems to have one bizarre consequence. Why, in the role
of King Herod, he felt compelled to adopt a whiny, high-pitched voice with gay inflections is a question
posed by a journalist in the film, to which Pacino has no answer. Estelle Parsons, the play’s director,
doesn’t weigh in on the matter, which remains a puzzling and uncomfortable choice to depict a lustful
king busy putting the moves on his 15-year-old stepdaughter.
Several times the actor/director seems to be testing his muscle, as when he rails against the time
constraints imposed by his producers Barry Navidi and Robert Fox, who appear as themselves
alongside the good-natured D.P. Benoit Delhomme, whose French accent is the occasion of humor.
These candid moments feel real, rounding out the man Pacino with a touch of humorous self-irony.
Venue: Venice Film Festival (Out of competition)
Production company: Salome Productions
Cast: Al Pacino, Jessica Chastain, Kevin Anderson, Estelle Parsons, Roxanne Hart, Barry Navidi, Joe
Roseto
Director: Al Pacino
Screenwriter: Al Pacino based on Oscar Wilde’s novel
Executive producers: George Ann Mason, Sakiko Yamada, Beni Atoori, Reza Rashidian, Andrea
Grano, Amy Nederlander, Daryl Roth, Tony Schiena, Giulia Marletta, Enrica de Biasi, Pierluigi
Navoni, Tod Blatt, Lamont Bennett
Producers: Barry Navidi, Robert Fox
Director of photography: Benoit Delhomme
Production designer: Nicole Ruby
Music: Jeff Beal
Costumes: Shukkun Hue, Annie Prager
Editors: Roberto Silvi, David Leonard
Sales Agent: Archlight Films
95 minutes

SCREEN Magazine
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Headlines » David Leonard Cuts Al Pacino’s Film, Wilde Salome
David Leonard Cuts Al Pacino’s
Film, Wilde Salome
October 21, 2011 by Screenmag
Editor David Leonard recently
completed cutting Al Pacino’s
Wilde Salome at Wild(child)
Editorial in New York. The
film, which recently premiered
at The Venice Film Festival to
a standing ovation, skillfully
weaves together stunning
cinematography with
documentary-style footage to
create a complex and
illuminating examination of
Wilde, the man, and Salome,
his once-banned play about
illicit love and brutal revenge.
Directed by and starring Pacino, Wilde Salome could be described as a film about a
movie about a documentary. The innovative exploration of the writer and his play, and
an actor and a roll crosses the traditional boundaries of filmmaking, weaving together
three distinct threads of content: A cinema verite-style documentary about the making of
the film and recreations of pivotal touch-points in Wilde’s life, the film of the play itself,
which is beautifully shot on 35mm film, and documentary footage shot with a SD video
camera that followed Pacino to Ireland, England, and France as he researched the
writer’s life and interviewed experts and about his subject.
A deep passion for the play and fascination with Wilde led Pacino to begin work on the
project over five-years ago. A number of early rough-cut versions had taken it in different
directions as his vision evolved. David Leonard was first signed on to finish shaping the
film into its final form in October 2009. Working with existing material, it fell to Leonard to
create a cohesive and compelling movie that achieved balance between the distinct
threads.
“Al is very much about experimentation and the process of discovery,” says Leonard,
who cut the movie on Wild(child)’s Avid System “He had lived with the film for a long
time, and it had gone through numerous incarnations before we began talking about
what he wanted the editing to achieve. There were some elements from the last cuts
that he wanted to continue shaping, and some fresh ideas and new things he wanted to
try. He would tell me what he wanted to see and feel, discuss a scene, give me notes
and then come back, respond to a scene and we’d continue the process of shaping and
refining.”
Pacino has described his film as, "… not a documentary. It's not a film. It's a much more
ambitious and complicated gesture of cinema. I wanted to make a kind of collage."
Leonard, who learned his craft assisting in the cutting rooms of iconic directors Martin
Scorsese, Robert Altman, Paul Schrader and Tim Burton, on films like Goodfellas and
The Last Temptation of Christ, says, “As an editor, the challenge was not only to capture
the visceral feel Pacino wanted to achieve, but to reach a balance and fluidity between
the documentary-style footage and the dramatic film. It was a unique challenge and
opportunity to “come into the editing process at a late date and get to be able to add a
fresh perspective to the film.”
Pacino noted, “David’s commitment and individuality are a real gift. I always trusted his
taste and judgment and felt I could rely on him to deliver what was needed. He always
got it done and then some.”
Al Pacino + editor David Leonard at Wild(child) Editorial/NY, working on the final cut of
Wilde Salome
Pacino has sought out a mix of outlets for his longtime passion for the famed writer. At
the same time that he was directing the film and playing the role of King Herod opposite
Jessica Chastain as Salome, he was performing the same part on stage in the 2006
production of Oscar Wilde’ Salome, also opposite Chastain.
Leonard first introduced Pacino to Wild(child) Editorial when the actor/director had asked
him he if knew of a space in New York that would work for an interview with Katie Couric
for the TV show, 60 MINUTES.
“He was blown away when he stepped out of the elevator into the huge, sun-filled
lounge,” recalls Leonard. “The space is loft height and the stark, all-white modern
minimalism and open architecture does give it an unexpected ‘wow’ factor. When he
commented on how much he loved it, I asked him if he wanted to edit the film there. He
was still surprised that he was in an editorial house when he said yes.”
“But ambience isn’t the only thing Wild(child) has going for it,” says Leonard. “It also has
premiere edit suites, talented people and a strong infrastructure, which is what makes it
my favorite place to edit in New York.”
“I found Wild(child) Editorial to be wildly accommodating,” says Pacino. “Without a doubt
it was the most pleasant atmosphere I’ve ever done post production work in.”
During the editing of the film Pacino made himself comfortable at the Flatiron-based
boutique. “He would arrive at about 4:00, after he finished rehearsal; work with me and
then hang out - relaxing in the lounge, playing ping pong, making calls - until around
7:00 when he left for other appointments,” recalls Leonard.
Editor Yvette Pineyro, owner of Wild(child), says, “Wilde Salome is the kind of tour de
force that takes filmmaking to the next level and it gave us a privileged peak into the
creative process of an iconic talent. It was also great to see Mr. Pacino settle in and
make himself at home at Wild(child).
Pinyero adds, “Wild(child) is very proud of its association with David Leonard and the
prestigious roster of films he has brought here. We always strive to stay diverse and
David brings a fresh cinematic perspective that we strive to incorporate into our spot
work.”
Among the films Leonard has cut at Wild(child) are director Raymond de Felitta’s City
Island starring Andy Garcia, The Guitar, directed by Amy Redford with Saffron Burrows,
and War Boys, directed by Ron Daniels with Peter Gallagher. The Leonard edited film,
Two Family House, also directed by Felitta, took home Sundance Film Festival’s
Audience Award For A Dramatic Film.
Currently David Leonard is in California working with Pacino on yet another related
project, a film of a theatrical production of Salome.
www.wildchildpost.com
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David Leonard Cuts Al Pacino’s Film, Wilde
Salome
October 21, 2011 | By Staff
Editor David Leonard recently cut Al Pacino’s Wilde
Salome at Wild(child) Editorial in New York. The film,
which premiered at The Venice Film Festival to a
standing ovation, weaves together stunning
cinematography with documentary-style footage to
create a complex and illuminating examination of Oscar Wilde, the
man, and Salome, his once-banned play about illicit... »
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throughout its studios. »
Ace & Son Moving Picture Company
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Veteran animation producer Richard O'Connor has
launched Ace & Son Moving Picture Company – a New
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graphics with added capacity for documentary editorial.
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Canon U.S.A. recently opened its Canon Hollywood Professional
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In September, the Iranian government arrested six independent
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Birns and Sawyer Auctions off Film
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LA-based camera rental and sales house Birns and Sawyer
announced that it is auctioning off all of its film camera inventory,
including cameras, lenses and camera accessories in order to focus
on digital acquisition systems. “It is with mixed feelings that we will
be exiting the 16 & 35mm film camera business after 57 years,”... »
Todd-AO Upgrades ADR Facilities in
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Todd-AO has completed the latest phase its effort to
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Hollywood, the ADR stage has been equipped with a
new Pro Tools workstation, a Soundmaster ION operating... »
Boogie Studio Hires Former Technicolor
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Montreal-based audio and VFX house, Boogie Studio,
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« Older Entries
Latest Headlines
October 21, 2011
• David Leonard Cuts Al Pacino’s Film,
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October 21, 2011
• Ingenuity Engine Delivers Stereo VFX for
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• ShootersNYC Editor Anthony Marinelli
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October 20, 2011
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Launches
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• Entertainment Industry Organizations
Unite in Support of Imprisoned Iranian
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Artistic Image director Ken Soons on the set
A frame from a segment of TNT Movie Club
A segment from TNT Movie Club package
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COMPANY NEWS: PAGE (1) OF 1 - 08/24/10 EMAIL ARTICLE PRINT PAGE
Artistic Image Director/Editor Ken Soons Scores a Telly
With Live-Action Package For TNT/LA Movie Club
Turner Studios Production Collaborates With Artistic Image On More Than 250
Live-Action Segments, Promos, Bumps And Opens
(August 24, 2010) DMN Newswire--2010-8-24--Artistic Image co-founder Ken Soons recently directed and edited
more than 250 promos, bumps, opens and How-Did-They-Do-That segments for TNT Latin America's new wrap-
around show, TNT Movie Club. The campaign, which was created for South America, garners a Bronze Award for
'Entertainment' at the 2010 Telly's.
"Each shoot contains an enormous amount of
material, with packaging for 12 movies with 15 to 20
promos, bumps and informational features for each
film, which were shot twice - once for the program's
Spanish broadcast and then again for the Portuguese
market," says Soons.
"The level of collaboration with producer/senior writer
Jennifer Day at TNTLA and producer Lauren Thomas
at Turner Studios Productions was key to every stage
of the process. Working in tandem with Jenni and
Lauren allowed us to maximize the efficiency and
creativity of this mega-size package, and create a final
product that exceeded everyone's expectations."
"Our Senior Director of Operations, Karen Grill, and I
had been looking to do a hosted show that would be ideal not only for product placement and sponsorship, but also to give the
audience something more in-depth about films," says Day. "In South America, TNT is predominantly a movie network, so this
type of hosted show highlights our strengths as being in-the-know about movies."
features a male and female host watching the show together as
they banter about different aspects of the film. Sometimes the
segments are set in the kitchen as they chat about interesting
aspects of the evening's film. Other segments take place in living
room and office settings, where the pair comment on their favorite
scenes, discuss the movie's special effects and offer up fun
behind-the-scene facts.
For instance, the Michael Bay feature THE ISLAND has a chase-
action scene in which giant metal spools fly off of a truck and
catapult directly into the camera lens. "I always wondered how the
director did that," says Soons. "During the How-Did-The-Do-That
segment the hosts give viewers behind-the-scenes insights into
how these effects were achieved."
"Jenni did an amazing job researching the movies and writing engaging scripts that both entertain and inform, while
maintaining a natural, conversational tone - and the personalities of the hosts brought them to life," notes Soons. "We
encouraged the talent to adlib, which created some of the best moments - and working with two cameras ensured that we
caught them."
Each scene was shot with two Sony EX3 cameras - one wide and
one tight. The file based cameras facilitated tapeless and seamless
digital workflow, which allowed for editing and color correction
without any generation loss. Soons edited and color corrected the
entire package, integrating numerous clips from blockbuster movies
into his original footage. Working in Artistic Image's Final Cut Pro
Suite
made it
easy to
deliver
both
HD and
SD

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Basement: Rabbit
Advertising Agency: Dittborn & Unzueta Terna, UK
Production Company: Argentina Cine
Director: Martin Romanella
Editor: Diego Panich
Music: Sweet Nothin’
Lyrics: Brenda Lee
Talent: Kate Moss
Dancer / Rabbit: Luke Fetherston
Check out the Cannes Lions 2011 Winners.
See original: Basement: Rabbit
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Editor Diego Panich Cuts A Surreal
Spot Featuring Kate Moss and a
Giant Tap-Dancing Rabbit
June 23, 2011 | Levent OZLER
Wild(child) editor Diego Panich was tasked with creating "Rabbit," an offbeat, surreal spot
featuring supermodel Kate Moss dancing seductively for her unlikely romantic interest, a tap-
dancing giant rabbit man. Heralding the launch of "Dream Collection" for Basement, the
captivating yet unfathomable scenario connects to the fashion-forward clothier's youthful
international audience using a mix of live-action and visual effects. The award-winning cutter,
represented exclusively by Wild(child) Editorial/NY in the Northeast, Midwest and West Coast,
collaborated closely with acclaimed film and commercial director Martin Romanella, on the
high-profile commercial.
Rabbit
"I was thrilled to have the opportunity work on a campaign for a brand that is known for its
untraditional approach to advertising," noted Panich, who cut the spot on Final Cut Pro.
"Basement has an image that reflects an irreverent aesthetic inspired by the connection
between fashion and modern culture, art and film - and they were committed to creating a
commercial that was an extension of this philosophy. As an editor, collaborating on a project
that defies traditional advertising trends is not only exciting, but also brings a fresh
perspective to my other work."
Romanella, a multi award-winning international director, shot the :60 spot on 35mm to create
a filmic style that plays more like a mini-movie than an ad. The commercial was shot on
location in London in a high-end, modern, stark white loft with floor to ceiling windows, which
were used to frame effects-driven exterior shots of the city that appear with a skewed
perspective that adds to the dream-like feel.
Diego was provided with an abundance of stunning footage of Katie dancing seductively for
the hybrid creature who has a huge rabbit head, but appeared to be a well-tailor normal man
from the neck down.
"The agency and client wanted to create an offbeat spot that that would captivate young
audiences," said Panich. "As the editor the challenge was to create the right balance between
the allure of this beautiful pop icon supermodel, the surreal Rabbit who is the object of her
affections and the wacko scenario that is playing out - while still keeping the viewer focused
on the product, Basement's 2011 autumn/winter line of women's fashion."
Panich took his cues from the upbeat tempo and lyrics of the spot's haunting track, a cover of
Brenda Lee's 1950's hit, "Sweet Nothin's." The retro music reinforces the strange cadence of
the commercial and provided the editor with an element to anchor the story to. The editing
retains its wackiness, yet gives it a cohesiveness that provides the impossible storyline with
the form and structure needed to bring home the client's message. Romanella created most
of the effects in the camera, shooting a number of scenes in film and them rewinding the film
and shooting another layer of images over it to create the desired visuals.
Holding Pattern
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Artistic Image Creates Graphic Packages For The Oscars
by ashras99 » 11 Mar 2011, 08:30
Artistic Image, the creative house that won top honors at the 2009 and 2010 Telly
Awards for the graphic packages they produced for the Oscars,was once again
called upon by TNT-LA to create FX-driven packages for theThe 83rd Annual
Academy Awards. AI tapped into its full roster of high-end services - from
production to 3D modeling, animation, editing, compositing and color correction -
to execute their complex concept, which took three-months to take from concept
to completion.
The Atlanta-based company’s collaborative team of multi-disciplined talent was
tasked with the challenge of bringing a first-person, 3D feel to this year’s
campaign, while still maintaining the classic ‘Oscar look’ that has become the
show’s signature. Ed Dye, president of Artistic Image and director of post
production + design, came up with an innovative concept inspired by the public’s
on-going fascination with the celebrity-studded awards show.
“The Academy Awards is an exclusive event that only stars and notable filmmakers
have an opportunity to attend,” notes Dye. “So we came up with a concept and
design that allowed viewers to experience the event from the perspective of the
celebrities, as if they were walking down the red carpet in their shoes.”
This challenging and complex concept demanded some creative-problem solving.
The 3D elements that AI created had to be built in a manner that allowed their
team to integrate them into every element of the project, while still maintaining a
consistent look and feel.
“TNT-LA has worked with Artistic Image on the last three Academy Award
packages, so we’ve built a strong collaborative relationship with them,” adds Dye.
“As creative partners, their feedback has always been invaluable to the creative
process.”
“While in past years we kept their team involved in every phase of the job by
producing elements as edit kits, this year we delivered the assets to them via
graphics kits that were broken out for each of their producers,” says Dye. “The
approach really maximized the efficiency of the process, and gave everyone instant
access to the all files, graphics and FX as they were developed and refined.”
“As always, Artistic Image was professional, seamlessly accommodated changes as
the project evolved, handled every phase of the production, design, editing and
finishing and delivered an outstanding Oscar package that was well received,”
noted Patrick Harrington, Senior Creative Manager at TNT Latin America. “Ed has
brought together an exceptional group of talent, and he continues to build upon it.
This was the first time I worked with VFX artist Jim Roberson, the newest member
of their team, and his it was a pleasure collaborating with him.”
“The Oscars honor the best talent and filmmakers in the industry, and it is seen by
millions of viewers. Our team is thrilled to have its work viewed by its huge global
audience,” adds Dye. “Winning top honors at the Tellys for our last two packages
was a tribute to our staffs’ commitment to delivering a final product worthy of this
world-class event.”
Dye oversaw the project, which was produced by Jim Threlkeld and Lauren
Bleakney. AI’s team worked closely with Senior Creative Manager at TNT Latin
America, Patrick Harrington and producers Paula Faria, Djamila Highsmith, Mickey
Dubrow and Patricia Bellini.
Visual Effects artists Jim Roberson, Lee Kordel, Daniel Wiggins, Jeff Ling and Daniel
Barnes worked in AI’s state-of-the-art suites using Adobe Suite, Maya and Mocha
for the modeling and animation of the 3D elements. Wiggins, Roberson and Kordel
also lent their skills as animators to the project.
The project was also finished at Artistic Image. Multi-talented Jim Roberson edited
the job on Final Cut and then composited and color corrected it in the Adobe suite.
Artistic Image is best known for its high-end design-driven effects, however the
multi-dimensional company offers the same level of services through every phases
of the creative process. Like the Oscar packages, almost all of the work on AI’s reel
was produced by the company - from concept to completion – seamlessly and
under one-roof.
CREDITS:
Project: 83rd Annual Academy Awards
Titles: Three Show Design Packages: ‘Pre-Show,’ ‘Show’ & ‘7 Days’
CLIENT: TNT-LA
Senior Creative Manager at TNT Latin America: Patrick Harrington
Producers: Paula Faria, Djamilia Highsmith, Mickey Dubrow, Patricia Bellini
PRODUCTION COMPANY: Artistic Image
Director: Ed Dye
DP: Jim Roberson
Producers: Jim Threlkeld, Lauren Bleakney
VISUAL FX/ANIMATION/DESIGN COMPANY: Artistic Image
Director of Design/Designer: Ed Dye
VFX Artists: Jim Roberson, Lee Kordel, Daniel Wiggins, Jeff Ling, Daniel Barnes
Animators: Daniel Wiggins, Jim Roberson, Lee Kordel
EDITORIAL + FINISHING CO: Artistic Image
Editor + Compositor: Jim Roberson
Colorist: Jim Roberson
-> Magazine Feb-Mar 2011 Issue Released
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News: Artistic Image Creates Graphic Packages For The Oscars For The Third Consecutive
Year
by Cow News Droid on Mar 11, 2011 at 2:04:56 pm
TNT-LA Returns To The Atlanta-Based Creative House ThatGarnered Top Honors At The Telly Awards For Its
2009 + 2010 Academy Awards Graphic Packages
(Atlanta, Georgia--March 11, 2011) Artistic Image, the creative house that won top honors at the 2009 and 2010
Telly Awards for the graphic packages they produced for the Oscars, was once again called upon by TNT-LA to
create FX-driven packages for theThe 83rd Annual Academy Awards.
AI tapped into its full roster of high-end services - from production to 3D modeling, animation, editing,
compositing and color correction - to execute their complex concept, which took three-months to take from
concept to completion.
The Atlanta-based company’s collaborative team of multi-disciplined talent was tasked with the challenge of
bringing a first-person, 3D feel to this year’s campaign, while still maintaining the classic ‘Oscar look’ that has
become the show’s signature. Ed Dye, president of Artistic Image and director of post production + design, came
up with an innovative concept inspired by the public’s on-going fascination with the celebrity-studded awards
show.
“The Academy Awards is an exclusive event that only stars and notable filmmakers have an opportunity to
attend,” notes Dye. “So we came up with a concept and design that allowed viewers to experience the event from
the perspective of the celebrities, as if they were walking down the red carpet in their shoes.”
This challenging and complex concept demanded some creative-problem solving. The 3D elements that AI
created had to be built in a manner that allowed their team to integrate them into every element of the project,
while still maintaining a consistent look and feel.
“TNT-LA has worked with Artistic Image on the last three Academy Award packages, so we’ve built a strong
collaborative relationship with them,” adds Dye. “As creative partners, their feedback has always been invaluable
to the creative process.”
“While in past years we kept their team involved in every phase of the job by producing elements as edit kits, this
year we delivered the assets to them via graphics kits that were broken out for each of their producers,” says
Dye. “The approach really maximized the efficiency of the process, and gave everyone instant access to the all
files, graphics and FX as they were developed and refined.”
“As always, Artistic Image was professional, seamlessly accommodated changes as the project evolved, handled
every phase of the production, design, editing and finishing and delivered an outstanding Oscar package that
was well received,” noted Patrick Harrington, Senior Creative Manager at TNT Latin America. “Ed has brought
together an exceptional group of talent, and he continues to build upon it. This was the first time I worked with
VFX artist Jim Roberson, the newest member of their team, and his it was a pleasure collaborating with him.”
“The Oscars honor the best talent and filmmakers in the industry, and it is seen by millions of viewers. Our team
is thrilled to have its work viewed by its huge global audience,” adds Dye. “Winning top honors at the Tellys for
our last two packages was a tribute to our staffs’ commitment to delivering a final product worthy of this world-
class event.”
Dye oversaw the project, which was produced by Jim Threlkeld and Lauren Bleakney. AI’s team worked closely
with Senior Creative Manager at TNT Latin America, Patrick Harrington and producers Paula Faria, Djamila
Highsmith, Mickey Dubrow and Patricia Bellini.
Visual Effects artists Jim Roberson, Lee Kordel, Daniel Wiggins, Jeff Ling and Daniel Barnes worked in AI’s
state-of-the-art suites using Adobe Suite, Maya and Mocha for the modeling and animation of the 3D elements.
Wiggins, Roberson and Kordel also lent their skills as animators to the project.
The project was also finished at Artistic Image. Multi-talented Jim Roberson edited the job on Final Cut and then
composited and color corrected it in the Adobe suite.
Artistic Image is best known for its high-end design-driven effects, however the multi-dimensional company offers
the same level of services through every phases of the creative process. Like the Oscar packages, almost all of
the work on AI’s reel was produced by the company - from concept to completion – seamlessly and under one-
roof.
ABOUT ARTISTIC IMAGE:
Artistic Image (Atlanta) is a world-class multi award-winning creative resource where a collective of innovative
live-action directors, producers, designers, animators, CGI artists, illustrators, editors, compositors, modelers
and finishers take each job from concept to fruition as a collaborative team. Dedicated to the advertising arena,
this hybrid company takes a design-driven approach to crafting high-end TV commercials, virals and broadcast
design in a nimble, open-architecture creative environment that provides seamless workflow and premiere client
services. For additional information please visit: http://www.artisticimage.com , or contact Michael Zarrillo at
404.815.1550.
CREDITS:
Project: 83rd Annual Academy Awards
Titles: Three Show Design Packages: ‘Pre-Show,’ ‘Show’ & ‘7 Days’
CLIENT: TNT-LA
Senior Creative Manager at TNT Latin America: Patrick Harrington
Producers: Paula Faria, Djamilia Highsmith, Mickey Dubrow, Patricia Bellini
PRODUCTION COMPANY: Artistic Image
Director: Ed Dye
DP: Jim Roberson
Producers: Jim Threlkeld, Lauren Bleakney
VISUAL FX/ANIMATION/DESIGN COMPANY: Artistic Image
Director of Design/Designer: Ed Dye
VFX Artists: Jim Roberson, Lee Kordel, Daniel Wiggins, Jeff Ling, Daniel Barnes
Animators: Daniel Wiggins, Jim Roberson, Lee Kordel
EDITORIAL + FINISHING CO: Artistic Image
Editor + Compositor: Jim Roberson
Colorist: Jim Roberson
###
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