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The Tombras Group Once Again Partners With Porchlight Director Peter Zavadil For ‘The Note,’ A Mother’s Day Spot That Delivers A Simple Story With Big Emotional Impact

Nashville, TN: The Tombras Group has once again tapped into Porchlight director Peter Zavadil’s talent for delivering simple, slice-of-life stories with strong emotional impact for ‘The Note.’ The 60-second spot for Food City pays homage to moms – reminding us all what makes them special – just in time for Mother’s Day.
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‘Salute,’ Porchlight Director Peter Zavadil’s Moving Spot, Sweeps The AAF’s Winning Six Top ADDYs & Garners Two Wins At The 2014 NGA Creative Choice Awards

‘Salute,’ a moving patriotic spot directed and edited by Peter Zavadil for The Tombras Group and Food City, received eight top awards to date, including six ADDYs from the AAF’s American Advertising Awards and two from the National Grocers Association (NGA) 2014 Creative Choice Awards.

The AAF’s Northeast Tennessee American Advertising Awards honored the spot with an ADDY for ‘Best of Show-Broadcast,’ and a Gold ADDY for ‘Television: Regional/National.’ The commercial also took home Gold ADDYs for ‘Overall Best in Show,’ ‘Advertising-Cinematography,’ ‘Digital Advertising-Social Media’ and ‘Advertising-Music,’ from the AAF’s Knoxville American Advertising Awards – as well ‘Best of Show Marketing’ and ‘Best Connection through Tradition Media/TV,’ from The National Grocers Association (NGA) 2014 Creative Choice Awards. Continue »

Superlux Provides IBM-Juniper Alliance With VFX +
 Editorial Services For Global Brand Film

Atlanta, GA: Superlux brought its talent for creating engaging, seductive visual stories to networking technology with a provocative brand message for the IBM-Juniper Alliance. Hadjo Media called upon the design/animation/VFX boutique to collaborate on ‘Mutualism On a Global Scale,’ a two-minute brand film that showcases their client’s innovative state-of-the-art networking solutions.

Tasked with crafting a message that was colorful, dynamic, and relevant to a diverse audience, Superlux, which has built a reputation for crafting bold moving images that intimately connect viewers and brands, was in its element.

“IBM-Juniper Alliance is a consortium of thinkers, engineers and global problem-solvers dedicated to building a Smarter Network,” says Mark Falls, co-owner and creative director of Superlux. “The more we thought about networking, the more we saw the interrelationships of the natural world. Taking our cues from the organic environment, we used images of nature to create a resonant organic backdrop juxtaposing the tale of a business category – and a dynamic partnership – that are truly symbiotic of the IBM-Juniper offering.

The project began at the concept phase – with Superlux creating a variety of motifs and design languages and initiating a collaborative dialogue with the clients as their design and FX team focused on identifying and expanding upon the strongest visual solutions that most dynamically express the essence of the brand’s message.

“Our client, Hadjo Media, has done a lot of shooting and editorial work for IBM Digital Video Services (DVS) the Atlanta-based unit of IBM. DVS often calls upon outside creative companies for production and post services. Due to our strategic relationship with Hadjo, this job was a great fit for us,” says Falls.

The brief for this job was to tell the story of the alliance between two separate corporations, IBM and Juniper, a tangible entity that seeks to market itself as a distinct alternative to standard-issue networking solutions. The message, ‘Networking is evolving. It is business critical. Innovation is important,’ positions it as a unique alternative to traditional network solutions because it presents more effective and customizable options.

IBM’s teams were the primary target audience for this message, as they spec out network solutions as part of broader integrated software-hardware-personnel implementations. Because these groups are dynamically structured, with diverse missions, fluid personnel and a decentralized hierarchy – the message had to be crafted in a way that was relevant to a wide audience.

Falls, who helmed his team as they explored various approaches to translating their ideas into a complex and versatile graphic system, notes, “We did a lot of initial conceptual groundwork, and the one theme that stood out was the way networking mirrors natural ecosystems. Our approach was to overlay the technology aspect with nature imagery. We found a great quote from molecular biologist Lynn Margulis, which set the tone: “Life did not take over the globe by combat, but by networking.’ Once we came up with the central framework and the idea of juxtaposing nature footage with diagrammatic animation, we made a conscience effort to avoid buzz words in the messaging and steer the text towards more ‘natural’ language.”

Superlux initially created style frames for three concepts, presented them to the client, got their feedback, and then set about reimagining and recombining the elements they designed (which all made it into the finished product) for the various scenarios. Its team created the graphic representations of network architecture using a combination of 3D and 2D with plug-ins, and choreographed the text with the action as it unfolded in an organic blend of footage and animation.

“Hadjo principal and director, Rob Rogers, and producer, Steve Brooks, were very supportive of taking a strong conceptual approach and leading with visuals and animation, and gave a lot of latitude throughout the creative process,” says Falls. “The collaborative working relationship that Superlux has developed with them was key to the success of the project.”

“The budget required that we work with stock footage, so selecting and editing the footage, and giving images from a variety of sources a unifying color and look was an important component of the job,” adds Falls. “ Bringing the concept to life from such a variety of source material and original animation was a challenge.”

The 3D approach allowed the designers to finesse lighting and color to play though the graphics and imbue the footage with an ethereal feeling using a distinctively vibrant magenta-violet palette.

Superlux art director, Eric Carros, and designer, Stephen Delorme, also edited the footage, which allowed the company to seamlessly follow their distinct creative vision through the process of marrying the 3D and live footage.

“Having worked closely with Superlux on several projects over the years, we knew we could count on them to deliver quality work,” say Rogers. “They act as an extension of our company, seamlessly, and deliver on time and on budget.”

Superlux is all about bringing strong ideas to life with seductive motion, utilizing design as the unifying force that determines aesthetic, technique, and logistics,” says Falls. “The IBM/Juniper branding package gave us an opportunity to devise an agnostic execution of the integration of concept and technique. We were inspired by the process of interpreting a global client’s messaging, and proposing and executing a concise expression across multiple disciplines.”

About Superlux:Superlux is a one-stop creative resource dedicated to the moving image. Our passion is crafting seductive visual stories that intimately connect viewers and branded content. Our expertise runs the gamut, from creating spots, promos, ID’s, web content, broadcast media, shorts, feature films, digital signage, and point of purchase, to interactive media and mobile apps. A mix of project, such as IBM Steel Story, AMA Montage, Nerf Sports, SEEBurger, Pergo, The Latin Grammy Awards and Whole Foods, to name of a few, keep our perspective fresh.

Our team of multi-disciplined talent enjoys unrestricted collaboration, throughout the creative process. This dynamic promotes a cohesive vision at every phase of work – from conceptualization, through design, scripting, live-action production, directing and casting, to design, 2D and 3D animation, motion graphics, editorial, compositing and effects. For more information about Superlux contact executive producer Loren Falls at 404.525.0700.

Type: Brand message film
Product: IBM/Juniper Alliance
Title: ‘Mutualism On a Global Scale’ (Length: 1:53)

CLIENT Hadjo Media/Atlanta
Producer: Savage Bell
Producer: Steve Brooks (Hadjo)
Copywriter: Pam Shaouy

DESIGN COMPANY: Superlux/Atlanta
Lead Designer: Mark Falls
Designers: Eric Carros, Stephen DeLorme, Saif Kahm

VFX Artist: Stephen DeLorme
Animator: Saif Kahn

Editor: Stephen Delorme

Color Grader: Stephen DeLorme


Mixer: Stephen DeLorme

Galaxy 61 and 9 Surf Studios Create A Bold 3D Animated App and Logo
 Celebrating The ‘Rise of the Geeks’ For EE Times – The Techno-Inspired App Receives Accolades from the 2013 MIN and MAGGIE Awards

New York: Pro athletes and Hollywood plastic surgeons may hang with celebrities – but with technology’s impact on every facet of modern-day living, it’s the unassuming techie that’s emerging as the new ‘rock star’ of the professional world – and Galaxy 61 was recently called to help celebrate them. 9 Surf Studios tapped the talents of the design-driven Brooklyn-based animation/VFX boutique to help EE Times mark its 40th anniversary with the creation of ‘Rise of the Geeks,’ a package consisting of a 3D rendering of a new commemorative logo – and a techno-inspired animated app, which the MIN Awards recognized with an ‘Honorable Mention’ in the ‘Best of the Web 2013 ’ category, and was selected as a 2013 MAGGIE Finalist for ‘Best Development of a Mobil App for a Tablet/Trade & Consumer’

Initially tasked with creating the artwork for the media outlet’s print logo and the app for the “Rise of the Geeks’ tribute issue, Tom White, designer/illustrator and owner of 9 Surf Studios, proposed evolving the 3D logo into a dynamic motion graphics intro for the app. The client signed off on the cost-effective element and White and Galaxy 61 owner, designer Doug Johnson, began devising an approach to take the ‘Rise of the Geeks’ campaign to the next level.

“Technology is largely the domain of ‘geeks’- a subculture that, until the burgeoning of emerging media, was dismisses as nerds,” says Johnson. “The challenge was to build upon the ‘Rise of the Geeks’ logo concept and create animation for the app referencing a series of technology-inspired visuals that illustrated just how instrumental their contributions have been.”

EE Times, (formerly called Electronic Engineering Times,) has been covering cutting-edge technology for four-decades. The were looking for a comprehensive marketing effort that not only showcased the magazine’s 40-year history, but also the dedicated, pioneering techies (such as Gordon Moore, Steve Job and other industry luminaries covered in the issue) responsible for transforming modern-day life.

Galaxy 61 built upon the magazines logo, integrating a stylized ‘40’ element and the tag line, ‘Rise of the Geeks,’ into it to pay homage to the visionaries who’ve defined the electronic era. Johnson and his team took the job from concepting, storyboarding, modeling, animation, lighting and visual effects (projector, lightning, LEDs, hologram,) to editorial, compositing and sound design – providing a seamless one-stop approach to the job.

“Tom and I brainstormed the concept, and then he presented his sketches to the client,” says Johnson. “Once they were approved, he created a grayscale illustrator file of each logo, and from that we built a 3D version of the logo. We could have stopped here for the print version, but since this logo was going to be animated – and we wanted it to be consistent with the print versions – we built some of the animation rig into the print logo.”
The app’s 24-second animated segment begins with the EE Times logo, which then reveals a complex fusion of mechanical elements. The universal symbol for ‘ON’ sets the action in motion. As the ‘ON’ button tips over, the image rapidly evolves into a timeline of iconic electrical engineering components – including intricate circuit boards, electric motors, and a CD-Rom player.

The entire structure of the lockup is set in motion by the ‘ON’ button and two mechanical arms that extend from the sides of the logo. Everything else unfolds from that, and had to be designed and rigged to come together in a realistic and believable way.

“From the beginning Tom and I collaborated on the concept and developing the look, components, overall structure and movement of the logo,” says Johnson. “We always had a bedrock notion of this being a Rube Goldberg kind of contraption that would gradually reveal itself through a Transformer-like series of actions. The details were in the choice of electronic components and how they come together to form the logo lockup.”

During the second part, ‘Return of the Geeks’ is initiated as the ‘EE40’ logo and then transforms into a projector, revealing a chronological series of technological developments – from analog oscilloscopes, meters, wires, chips, gears, solenoids, audio components – to van der graaf generators creating static electricity and LEDs. It then closes as the word “Geeks” appears as a dramatic hologram.

“The hologram simulation was somewhat challenging,” adds Johnson. “Creating and building the elements, and choreographing their motion so that they’d interlock precisely, took considerable time to figure out and build.

“It’s a fun animation with an implicit cheekiness to the “Rise of the Geeks” concept that we wanted to mirror with a light touch for the animation,” adds Johnson. “ And, the addition of the app to the project gave Galaxy 61 the opportunity to create an audio component and follow through with our vision by devising a symphony of mechanical noises to correspond to every motion in the animation.”
White and Johnson also share an interesting back-story that began at Westlake High School in Thornwood, NY. The fellow graduates of the class of ’79 were known for their drawings of elaborate parodies of movies, like ‘Star Trek,’ featuring their teachers as the cast. Although they lost contact after high school, they reconnected again at the 25th reunion, and began collaborating on White’s logo designs when he needed them rendered in 3D.

“Tom’s intricate typography and drawing have always seemed to cry out to be put in motion,” says Johnson. “Collaborating with him on the transition of his illustrations to 3D is always a great experience.”

Over the years 9 Surf Studios has tapped Galaxy 61’s talents for a long roster of projects, including a logo for Emcor, Nerf, Izod’s Center Banners, FIA and Lotto Max.

“Doug and I go way back,” says White. “When we reconnected and started working together again, we kept the same fun spirit of collaboration that we had when we invented exotic characters and stories in our own versions of pulp magazines. It’s just that the technology has changed since then – and has opened the doors to dynamic and endless possibilities. That’s the reason I work with Doug on all my client projects that require animation. He’ a true expert with an unmatched aesthetic, motion, and technical sensibility. His flexibility in collaborating with me on design development makes it truly easy to come up with the best solutions. And the icing on the cake is the range of looks he can create to be appropriate for virtually any project. My only reservation is that if too many people know how good his work is, he may no longer have time to work with me!”

The design of the anniversary logo and animation of the app were just two of the elements incorporated into EE Times’ month-long ‘Rise of the Geeks’ campaign, which also integrated print ads, online media content, events, and marketing collateral.

About 9 Surf Studios: Dedicated to creating well-crafted and striking visual solutions, 9 Surf Studios brings the full range of owner/illustrator Tom White’s classical training to modern media. An early pioneer of digitaly-based image design, White specializes in branding, marketing and storytelling through typographics, illustration and image design. For addition information contact Tom White at 212.886.8778 or
About Galaxy 61: Galaxy 61 is a design-drive animation/VFX boutique crafting captivating creative content that goes way beyond just expanding brand awareness to consistently deliver inventive, evocative, and even spellbinding visual stories. Compact and streamlined by design, Galaxy 61 offers a seamless creative resource that can take the reins of a project from concept, design, animation, character development, motion graphics, FX print, and sound design – right through editorial and compositing. The ultimate creative partner, Galaxy 61 is a mash-up of experience, raw talent, wit, ingenuity, originality – merging art and technology to create unforgettable brand experiences for both digital and traditional platforms. For additional information contact Doug Johnson at or 718.965.0965.


TYPE: 3D print logo + animated app sequence (online, events, marketing collateral)

PRODUCT: EE Magazine 40th anniversary multi-platform campaign
TITLE: ‘Rise of the Geeks’
LENGTH: 24-seconds

CLIENT: 9 Surf Studios/NJ
Producer: Tom White
Designer/Illustrator: Tom White

Animator: Fola Akinola
Designer: Doug Johnson
(Equipment: Maya 2011, After Effects CS4)

Sound Designer: Doug Johnson

Utopic Signs Motion Graphics Designer Kevin O’Rourke

The Integrated Broadcast/Digital Media Company Adds Award-Winning Multl-Disciplined Artist To Its Team Of Talent

Chicago: Utopic president, Jan Maitland, announced today that award-winning motion graphics artist Kevin O’Rourke has joined the hybrid digital media company’s roster of talent.
A graduate of Kendall College of Art and Design in Michigan, O’Rourke is a multi-disciplined artist whose motion graphics work brings his mastery of animation, digital and traditional illustration, special effects, contemporary and classic design, typography and cell animation to a diverse body of work in the commercial, broadcast and digital arenas.

Formerly a designer at Red Car/Chicago, the Grand Rapids-born artist’s work has garnered national recognition across multiple platforms. The AICP selected O’Rourke as a finalist in the Best Design category in 2010 for ‘The Drop,’ a design-driven piece featured in the Madison Museum of Contemporary Art. In 2012 he received another nod in the same category for NEXTEK’ a spot out of Team Detroit, alongside Utopic’s Ryan Gilbert and Joe Minick, for the spot they created for NBC5’s ‘City.’ O’Rourke also created the graphics package for New Animal Production’s Emmy nominated programs ‘Third Reich: The Rise and Fall,’ and ‘9/11: Three Days After’ for The History Channel. He received the 2007 Caddy Award for ‘Strike Team’ – a self-promotional motion design/illustration piece, and in 2009 he took home the Real Detroit Weekly Award for Best Cover Artist for the ‘Best of Detroit 2009 Issue.’

Prior to his three and a half stint at Red Car, O’Rourke honed his skills as senior designer at Univeral Images/Detroit from 2008 to 2010, and Postique/Detroit, from 2002 to 2007. As a resident artist at Fulton Street Collective, a co-op for a new generation of Chicago artists whose work bridges multiple disciples, he melds the spirit and vitality of his work in advertising with his graphic design sensibility to create an eclectic mix of prints – from concert posters for groups like Sonic Youth and Ween, to a series of over 30 posters for The Detroit Derby Girls.

“As an artist I really thrive on being part of a collaborative team, and Utopic presented a unique opportunity to work with full roster of talent – from editors, animators and FX artists to directors and sound designers,” says O’Rourke. “It provides a creative environment without boundaries, and approaches each job as a collective with a shared passion and vision – and a very creativity-driven mindset that was very appealing to me.”

“Utopic has evolved into a hybrid broadcast/digital media company, and expanding our staff with the addition of top-caliber multi-disciplined talent is key to our continued growth,” says Maitland. “Kevin’s work as an innovative motion design and multi-media artist has made him one of Chicago’s stand-out talents. I’ve been a big fan of his work for years. His forward-thinking aesthetic and scope of talent add yet another dimension to Utopic’s capabilities – and I’m thrilled to have him onboard.”

“Utopic is all about finding fresh, innovative ways to use a mix of mediums to create bold, innovative content that crosses multiple platforms,” adds partner, Tim Kloehn. “Kevin is a pioneering artist who shares that commitment. He’s a perfect fit with our vision – and our talented team.”

Kevin O’Rourke’s client roster includes, J. Walter Thomson/Team Detroit, the W.K. Kellogg Foundation, Draft FCB, Campbell Ewald, Doner, Global Ewald. His work in the commercial arena includes motion design, illustration and art direction for the Nintendo spot ‘Hero’ (Leo Burnett USA,) and ‘Butter Berger’ for Culver’s (New Media Campaign,) to name a few. He also designed broadcast packages for clients, such as The Discovery Channel and The History Channel, and his print work includes, ‘Taras In Three Colors’ and ‘Pretty Face’ for ‘Art Prize.’

About Utopic:
Utopic is an award-winning one-stop hybrid broadcast/digital company dedicated to providing agencies and brands with multi-platform integrated VFX, editorial, production, audio and interactive services. Its collaborative consortium of artists and producers offer a seamless approach to everything from traditional broadcast commercials and promos to complex interactive rich media, web content, mobile apps and virals. Utopic’s mix of work includes broadcast spots and digital media content for clients such as Samsung, Kellogg’s, McDonald’s, Toyota, GM, NBC, Kraft, Shelterbox and Sears, to name a few.
For more information about Kevin O’Rourke and Utopic’s services, contact heather Mitchell,, or call 312-836-9000.


New Art Miami has launched a pioneering remote color grading service, taking its one-stop seamless approach to editorial, VFX, 3D animation, color grading, finishing and audio postproduction to the next level. The innovative service provides clients with virtual access to real-time sessions with the company’s skilled color grade team, while eliminating the expense and time of travelling to the Miami-based facility.

New Art bringing clients and their colorist together in ‘live,’ real time sessions that enable clients to watch, interact, and participate in the creative process from their computers, with matched color parameter, or on tablets, or smart phone. Sessions are accessed via Internet from multiple locations using secure password logins.

Demetrio Bilbatua, President/CEO, New Art Miami

“Our remote color grading service provides a project that doesn’t have room in its budget for travel expenses, with the opportunity to work with our multi-talented colorists, Oscar Martinez and Patrick Desfayes – without every leaving their office,” says Demetrio Bilbatua, New Art’s President/CEO. “It also provides local clients with the convenience of accessing the same high-caliber service, technology and talent that we offer in-house, without having to get in their cars or block travel time into their schedules.”

The remote color grading process begins after production, with the client sending files and their EDL to New Art Miami. Files are then ingested to the facility’s non-linear color correction system, and their color grader performs a monitor calibration of the client’s viewing reference station. New Art’s team establishes a voice connection via Skype or phone, and then begins a real-time nonlinear color grading session.

Remote color grading delivers the same quality as in-house session – and goes through the same process – matching the color temperature of footage from multiple camera, balancing out levels from scene to scene, using the nuisances of the craft to create or enhance the desired mood of each scene, getting rid of noise, correcting soft areas and achieving precise control of color and contrast by utilizing window isolation. The final product is equal to the quality that clients are accustomed to when leaving an in-house session.

After the session is completed, New Art’s colorist posts selected files to an FTP for download and use. They retain a copy to allow further correction or alternate versions to be created, or to follow through, providing editorial, finishing and/or audio services. (The company is currently fine-tuning a Remote Editorial Services, which it plans to launch later this year.)

“Clients are amazed at the level of convenience and flexibility our remote capabilities bring to the color grading phases of their projects, and how seamlessly it integrates into their work day,” says Bilbatua. “And, by eliminating the cost and time spent traveling, working remotely allows project that never had the budget to come to New Art for color grading to step up the production value of their content.”

“Our remote color grading service delivers the quality and service that the industry has come to expect from New Art Miami, while eliminating the substantial out-of-pocket costs and time normally associated with traveling to Miami,” adds Bilbatua. “It was designed to anticipate the every-changing needs of today’s clients – and refine the role of a seamless workflow for commercial, corporate, music video and web-based video content.”

New Art Miami is a creative service provider offering Editorial, VFX, 3D animation, color grading, finishing and audio for spots, broadcast content, music video and all platforms of visual media. Our team is committed to providing dynamic, flexible and innovative solutions that cross platforms and exceed expectations. Technical specs and formats supported by New Art’s Remote Color Grading system can be downloaded from, or contacted at 305.857.0350 for additional information on the services.

New Art Miami Welcomes International Editor Pablo Plant to its Roster

New Art Miami recently signed award-winning international editor Pablo Plant to the one-stop editorial, VFX, color grading and audio house’s diverse roster of talent. Plant, whose work has received accolades from major festivals from Cannes to FIAP – has brought his original point of view, fresh artistic sensibility and wit to a long-roster of high-profile global spots. New Art Miami is a seamless full-service postproduction company with a diverse Hispanic and general market client-base in commercial, network and emerging media. The addition of Plant will facilitate the company’s global positioning in Central and South America markets, as well expand the scope of its Hispanic work in the US.

Born in Madrid, Pablo’s roots were planted in both Spain and England, allowing him to branch out as an artist and broaden his perspective as he absorbed the cultures and the subtleties of a wide range of aesthetic sensibilities.
Early in his editing career he began working on high-profile campaigns in Spain, Germany, France, The United States, UK, Italy, Asia and Mexico – for a prestigious roster of brands that includes BMW, Mercedes, VW, Peugeot, Infiniti, Lexus, Opel, Kia, Renault, Cornetto, Iberia, Movistar, Vodafone, Coca Cola and Siemens.

Pablo Plant’s impressive body of work has earned him international recognition as he garnered a steady flow of accolades, including Cannes Gold Lion Award for ‘NIKE Manifestacion,’ the Silver Lion for ‘Die Welt Architec,’ a Bronze Lion for ‘Greenpeace-Salva,’
 FIAP Gold award for ‘Coca Cola-Gurú,’ Silvers for ‘Coca Cola-Pisquedelic Sally,’ ‘Aquafina-Choque’ and ‘Coca Cola-Despedido.’
“Pablo’s work speaks for itself,” says New Art Miami president/CEO, Demetrio Bilbatua. “His reel showcases the kind of diversity, skill, wry wit and unique artistic perspective that has universal global appeal, and his reel is already eliciting an overwhelming response.”

Plant developed an appreciation of diverse cultures early in life. His childhood, growing up in the fast-paced city of Madrid, was tempered by spending every summer with his mother, a Brit, working on his grandfather’s farm is the English countryside.

In 1989 his father, film editor Pablo G. del Amo, a former member of the Hollywood Academy, gave Pablo the opportunity to work with his editing crew on the feature film “Ay Carmela” as second assistant editor.

“That early exposure to process of filmmaking gave me a creative outlet that sparked my passion for the craft of editing,” says Plant. “It also led to unique opportunities to learn my craft and hone my skills working alongside some of Spain’s most important film directors, such as Carlos Saura, Fernando Fernán Gómez, Bigas Luna and Pilar Miró.”

In 1996 Plant edited a number of short films and music videos, and cut his first feature film, “Solo Se Muere Dos Veces,” The following year he began editing commercials for Sebastien Grousset in Tesauro Madrid, and discovered that he really enjoyed the challenge of telling a story in short-form. Once he moved to the spot arena he found his calling, and never looked back.

“My mantra is ‘keep it simple,’ – and I thrive on the complexities and challenges of the creative process that goes into crafting of a minimalistic story that maximizes the impact of a brand’s message.”

An amateur musician himself, Pablo’s first job was as lighting and sound technician for a theatre in Madrid, followed by stints as a lighting designer for several dance and theatre companies in Spain. He then went on to edit music and sound for a number of films, commercials and documentary films before honing in on cutting spots and visual content.

“Music remains a strong, driving force of the editorial process for me,” notes Plant. “If music lives inside your soul, it can’t help but influences your work and brings another dimension to it.”

Regarding his new position at New Art Miami, Plant says, “I enjoy new challenges and collaborating with inspired talent to create a final product that is greater than the sum of its parts. New Art Miami has put together a talented team of editors, VFX artist, colorist and mixers, and provides the kind of creative environment that support innovation – and pushing the envelope. Thanks to today’s digital age creativity no longer has boundaries – and I look forward to working on a mix of projects for Innovative agencies and brands based around the world – from Argentina, Spain and London – to Miami and New York.”

”Pablo Plant is truly a world-class editor, and his addition to our multi-talented team of editors, VFX artists, colorists and mixers positions New Art Miami to not only attract a more diverse mix of higher-end work in the US Hispanic and general markets, but also to build a client-base in Central and South America, as well as Europe, says Demetrio Bilbatua, president and CEO of New Art Miami. “His level of talent and international reputation with top production company and agencies worldwide enables us to raise New Art Miami’s creative bar locally, as well as globally.”

“I’m always looking for creative talent to complement our team editors,” adds Bilbatua. “Pablo is an extraordinary multi-dimensional talent who brings a level of emotion and power to his editing that makes him a perfect fit the New Art Miami team.

About New Art Miami: New Art Miami is a creative on-stop editorial, VFX, 3D animation, color grading, finishing and audio boutique with an award-winning roster of editors. Its diverse talent offers advertising agencies and content creators in the multicultural, international and US arenas the ability to connect with a wide range of cultures and styles. For more information about Pablo Plant contact us at

Directors Film Company Returns to New Art Miami For Editing, Color Correction & Mixing of A New Global Spot for Bounty Chocolate

Miami, FL: An alluring woman and a handsome man are on a tropical beach where sensuous pours of dark chocolate over crisp white coconut transform into a decadent treat for the palate. That’s the evocative storyline for “Bounty Chocolate,” a new :30 global spot that brought Directors Film Company’s executive producer, Richard Coll, back to New Art Miami to tap into the postproduction boutique’s editorial, color correction, sound design and mixing talent.

Directors Film Company’s first collaboration with New Art Miami was director Jonas Arnby’s Coca-Cola spot, “Happiness,” featuring a young woman and man as they meet and both lay claim to the last bottle of Coca-Cola at the local Stop ‘n Shop. Their playful tug of war over the bottle continues as they leave the store and ultimately find the perfect solution – sharing the bottle of Coke over an impromptu dinner with friends.

“Working with Directors Film Company on Coca-Cola was a great experience,” says New Art Miami executive producer, Bob Cobb. “We we’re thrilled that they called upon our services again – and have given us an opportunity to build an on-going working relationships with a production company of their caliber.”

For the Bounty Chocolate spot New Art Miami combined director Kathy Prosser’s lush footage shot on a picturesque beach in the Florida Keys with meticulously orchestrated product shots – heightening the feel of the island paradise scenario with their collaborative team’s editing, color correcting, sound design services.

The dream-like spot opens with a woman floating on the waves while a man on the beach pours rich, dark <chocolate into a coconut shell. When she arrives back on shore he presents her with the tropical treat, which turns into chocolate-covered coconut Bounty candy bars that everyone can enjoy.

Richard Coll, once again worked with editor Alejandro Delgado and colorist Oscar Martinez. Delgado assembled various versions of the cut on his Avid system, creating a smooth, languid pace.
After completing the creative edit, Delgado gave the EDLs and rough cuts to Oscar Martinez for final color correction of the selects. Martinez tapped Assimilate SCRATCH color correction, melding the cool tropical colors of the beach footage, the Bounty wrapper’s trademark colors and the sumptuous tones of the chocolate into a cohesive look.

Juan performed the final mix, in addition to creating the sound design for the spot. His challenge was to craft sounds with a subtle tropical feel and fuse them with restrained ocean noises that didn’t overpower the cool sultry tone of the commercial.

“Our team really enjoyed working with Directors Film Company on the Coca-Cola spot, and we’re proud that Bounty Chocolate gave us a chance to reunite and bring our seamless approach to editing, visual effects, color correction and mixing to a high-end spot for the international market.”

ABOUT NEW ART MIAMI: New Art Miami is a creative service provider offering Editorial, VFX, 3D Animation, Color Grading, Finishing and Audio for spots, broadcast content, music video and all platforms of visual media. Our team is committed to providing dynamic, flexible and innovative solutions that cross platforms and exceed expectations. For additional information about New Art Miami contact Alan Olem, director of business development, at 305.857.0350 or

Product: Bounty Chocolate
Type: International Spot
Title, length: “Bounty Chocolate,” 1x :30; 1x :20

Production Company: Directors Film Company/New York
Executive Producer: Richard Coll
Director: Kathy Prosser

Editorial Company: New Art Miami
Editor: Alejandro Delgado
Executive Producer: Bob Cobb

Color correction Company: New Art Miami
Colorist: Oscar Martinez
Executive Producer: Bob Cobb

Audio Post: New Art Miami
Sound Designer: Juan Dieguez
Mixer: Juan Dieguez

New Art Miami’s Team Of Talent Collaborates With SapientNitro For New FIAT 500 Abarth Web Campaign

New Art Miami the multi-disciplined creative service boutique, collaborated with SapientNitro, a leading marketing and technology company, to help create a series of three web spots for Fiat’s new website that introduces the long anticipated arrival of the 2013 Fiat 500 Abarth. The New Art Miami team brought its seamless approach to color correction, conforming, clean up and audio mixing to a campaign that puts the racecar-inspired sports coup through its paces.

“When SapientNitro first enlisted us, all we knew was that the job was a HD campaign for the Internet,” says New Art Miami executive producer, Nadia Bowen. “When we saw the stunning footage, and found out that the spots would be featured on the homepage of Fiat’s new website, we were thrilled to have the opportunity to bring our multi-talented team’s skills to the company’s innovative concept.”

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Two Of Minneapolis’ Award-Winning Creative Companies – mono & CRASH+SUES – Team Up To Create A Multi-Media Experience For NYC’s Prestigious Parsons The New School for Design That Blurs The Lines Between Advertising + Experiential

CRASH+SUES was called upon by mono to bring its fresh aesthetic to the editing, color correction and graphics for SoundAffects, Parsons The New School for Design’s multi-platform exploration of the relationship between music, design and technology. The two Minneapolis-based creative companies teamed up to create the media content for the multi-platform initiative, which was conceived by mono and driven by the prestigious NYC school’s mission to raise people’s awareness of design’s relevance and impact on their lives.

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Artistic Image Creates 2D/3D Projection Mapping Designed To Interact With The Façade Of The Hunter Museum – Rather Than Obscure It

Atlanta, GA: The Hunter Museum of American Art’s neo-classic facade provided Artistic Image (AI) with the perfect canvas for creating a larger than life spectacle for the closing weekend of Chattanooga’s 2011 RiverRocks Festival. The visual FX company’s team of artists designed a series of 3D/2D scenarios that integrated the building’s windows, columns and other architectural details into an interactive animated projection mapping display that transformed the Hunter Mansion into everything from a pinball machine and aquarium to a pencil sketch of itself that’s erased into the night sky. Continue »

CRASH+SUES’ Creates An Animated Campaign For Best Buy With Wit + Whimsy To Let Consumers Know Exactly ‘What’s In The Box’

Ever wonder what comes with that tech device that you are about to purchase, and what accessories you’ll discover need once you take your new gadget home? Best Buy’s “What’s In The Box” in-store campaign provides the national retailer’s customers with the answer to just that question in a new series of stop-motion animated spots created by CRASH+SUES animators Sean Hall and Cari Merryman.
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Artistic Image Director/Editor Ken Soons’ Collaboration With Turner Studios Productions and TNT Latin America For TNT Movie Club/Latin America Scores A Telly Award

Atlanta: Artistic Image co-founder Ken Soons recently directed and edited two shoots containing packaging of 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, recently 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.”

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 Studios Productions was seamless and easy. It was a director’s dream.”

“The lion’s share of projects that call upon Artist Image take advantage of our company’s ability to integrate live-action 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.”

Artistic Image has also garnered Telly Awards for its work on campaigns for Ford and Trokar, as well as the graphic segments the crafted for TNT Latin America’s 2009 and 2008 broadcasts of the Academy Awards and The Golden Globes.

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