Casting Director Dea Vise lost everything in home fire

We’re thanking $DEITY right now that this fire didn’t happen while Dea was at home sleeping, but sadly all of her feline friends were, and none of them made it out of the fire. The fire engulfed her L.A. Bungalow and Dea literally lost everything she had. From personal mementos like photographs, to every day items such as clothes and makeup, to her 50 recently purchased books she was using for her dissertation for her doctorate. It’s all gone.

A fundraiser is now on to help Dea get a new home, and all of you who have met her know she’s a caring woman with a huge heart, and you know she’d help you. Please take a moment to help out, and spread the word about this fundraiser: Help Dea Vise Rebuild After Devastating Fire.

You may know Dea from casting calls, as she’s helped many films, and hundreds of commercials. Dea also works tirelessly for Outreach Concern and Burbank family services helping children. For once, she’s the one who needs a little help, so lets help her back.

AKA NYC Captures Seven Telly Awards

Agency honored for television campaigns for FIDDLER ON THE ROOF and AMERICAN PSYCHO.

NEW YORK—It was an exhilarating night for AKA NYC at the 37th Telly Awards as the entertainment marketing agency won a total of seven awards for its campaigns for the Broadway musicals FIDDLER ON THE ROOF and AMERICAN PSYCHO.

AKA’s FIDDLER spot “Tradition” earned a Silver Award, the competition’s highest honor, in the category Entertainment. It also picked up Bronze Awards for Directing and Cinematography. The agency’s spot “Selling Out” for AMERICAN PSYCHO won four Bronze Awards for Entertainment, Directing, Editing and Graphics. Both spots were directed by AKA NYC’s directing team Jamaal+Bashan.

AKA NYC is elevating the quality of Broadway advertising through its daring and inventive concepts, and high production value. FIDDLER’s “Tradition” captured the mesmerizing energy of Hofesh Shechter’s choreography by placing a handheld camera directly in the midst of groups of dancers. The agency evoked AMERICAN PSYCHO’s blend of sex, style and homicide in an ad where the show’s protagonist, Patrick Bateman (Benjamin Walker), dancing to a Walkman, is intercut with review quotes and flashes of Manhattan, sultry women and bloody axes.

“We take people inside the mind of Patrick Bateman,” explains AKA NYC Executive Creative Director Bashan Aquart. “It’s dangerous, but it’s also raw and exciting. In Patrick’s mind, there is glass breaking, chainsaws are roaring and butcher knives are flying across the room…yet, somehow, it’s all still sexy.”

The Telly Awards are the premier competition honoring outstanding local, regional, and cable TV commercials and programs, the finest video and film productions, and online commercials, video and films. Winners represent the best work of the most respected advertising agencies, production companies, television stations, cable operators, and corporate video departments in the world.

Last year, AKA NYC won five Silver Tellys for work for MATILDA THE MUSICAL, HAND TO GOD, ONCE THE MUSICAL and IT’S ONLY A PLAY.

About AKA
AKA is a global, full-service advertising agency with offices in the US, UK and Australia. The AKA Group, including Digital Media Services and the film advertising agency The Creative Partnership, delivers creative, strategic and insightful campaigns to the entertainment and culture industries worldwide.
The New York office, led by Elizabeth Furze and Scott Moore, delivers innovative solutions across media, marketing, partnerships, interactive, creative, broadcast content, insights, and campaign management, with a proven record for producing sales-driven campaigns for premium, must-see productions, venues, exhibitions and events.
For more information, visit aka.nyc

Industrial Color Adds Veteran Editor Bruce Ashley And Executive Producer Gary Giambalvo

Industrial Color, the 25-year-old creative studio known for its high-end fashion and beauty post-production work, has added acclaimed Editor Bruce Ashley and Executive Producer Gary Giambalvo to its staff. The moves, according to the company’s Chief Operating Officer Mathieu Champigny, represent a strategic step in the company’s overall growth strategy targeting advertising and branded content production

“For years the creative capabilities of Industrial Color in areas such as post-production, VFX and animation has largely been a secret known primarily to the fashion/beauty world,” Champigny says. “But with the content creation growth globally, we see an incredible opportunity to partner with major agencies and add creative value to their most challenging projects. The addition of a creative force like Bruce and Executive Producer like Gary reflects our commitment to doing great work and offering clients a combination of talent and technology rarely seen today.”

Saying G’day To Ashley
Hailing originally from Australia, Ashley has built his well-earned reputation as a top video editor thanks to his expert eye for the visual arts, perhaps best evidenced by his substantial fashion and beauty work for brands such as Tiffany, Avon, DKNY, Raw Spirit and Clinique. Other brands like Coca-Cola, Guinness, NBA, Facebook and Red Bull already know Ashley’s expertise in emotional storytelling.

In addition to ads, Ashley is one of the world’s leading editors of music videos, having cut groundbreaking videos for such artists as Madonna, Bruce Springsteen, INXS, Santana and most famously Pearl Jam’s “Jeremy,” which won the MTV Video Music Award for ‘Video of the Year’ in 1993. His long-form work includes the 2015 feature documentary “Hitting The Apex,” directed by Mark Neale and produced/narrated by Brad Pitt; as well as concert films for U2 and David Bowie.

Ashley’s early editing career was spent at New York post houses Mad River Post and 89 Greene Street, as well as at television networks in Australia and London. In 2007, Ashley joined the post house Company X.

As Industrial Color’s Senior Editor, Ashley notes that while the company is known throughout the fashion and beauty world, there is less of an appreciation of the company’s capabilities and talent in the advertising/branded content community, which he says offers a great opportunity to showcase his talent.

“The chance to help brand this company in the mind’s of agency creatives and producers was hugely appealing to me,” Ashley says, “It’s always exciting when you have a stake in the company’s growth, and for many in the advertising world, this place is new. When they see what we’re capable of, and our amazing Tribeca office, they will be impressed.”

New Challenges Drive Giambalvo
As Executive Producer/Director of Integrated Production, Giambalvo — a veteran production executive whose résumé includes the STUDIO, Curious Pictures, as well as a longtime committee member of the AICP Digital Board of Directors – noted he was at a point in his career where he was ready for a new challenge and the chance to work on larger scale projects.

“I was looking for a place that had all the tools and talents in place, but that needed someone that could take those pieces, better integrate them and bring it to the next level,” Giambalvo says. “Industrial Color has all that and much more, and the cultural fit was obvious. The fact is we have a robust team of talented editors, animators and visual effects artists, and now with an editor like Bruce on board, we’re in a great position to compete in this highly competitive commercial post production world.”

Giambalvo adds that the company is looking to grow further with the addition of several new producers and graphic designers the company will announce in the near future.

BlueRock Editorial expands: hires editors Jim Helton and J.P. Damboragian

New York-based creative editing company BlueRock is thrilled to announce the additions of accomplished editor Jim Helton and rising star J.P. Damboragian to its award-winning editorial roster.

Jim Helton has always managed to move seamlessly between genres; working in a freelance capacity until now, Jim has built a repertoire that spans major motion features to short form spots. As a frequent collaborator of director Derek Cianfrance, Jim edited his narrative features The Place Beyond the Pines and Blue Valentine, among other projects. Jim’s latest film with Cianfrance, The Light Between Oceans, starring Alicia Vikander, Michael Fassbender, and Rachel Weisz, will hit theaters September 2016.

In the advertising arena, Jim has repeatedly been enlisted to bring together visual stories for top-tier agencies and brands; commercials for Honda, Verizon Fios, Grey Goose, and most recently Lipton and a 9-spot campaign for Goose Island.

Jim’s passion for the art of filmmaking is matched with a refined touch for whichever medium he takes on, allowing him to offer clients a multitude of different looks, ideas and solutions. Jim has dabbled in creating title sequences, and the opening sequence he created for Blue Valentine won both the audience and judges awards for Excellence in Title Design at the 2011 SXSW Film Festival. He also composes music cues, and several of his selections can be heard accompanying scenes of The Place Beyond the Pines.

At BlueRock, Jim looks forward to reuniting with Managing Director Liz Mason, with whom he’s worked previously, saying, “Liz and I have a wonderful sense of mutual respect and loyalty, and I trust her implicitly.”

“Jim’s experience as a filmmaker truly informs how he explores a story in the editing suite,” comments Liz. “It allows him to bring something to the project that consistently elevates it beyond what you expect it to be.”

Fellow BlueRock arrival J.P. Damboragian began his career at Crew Cuts, rising from messenger to assistant under renowned commercial editor Clayton Hemmert, and then making the leap to full-fledged editor on the Crew Cuts roster. After going freelance to broaden his experience, he became a go-to editor for Ogilvy & Mather. The advertising giant entrusted J.P. with a variety of projects, resulting in a great breadth of work that belies his relatively young career.

J.P.’s masterful ability to engage viewers on both a visual and emotional level has led him to tell a diverse range of stories for the commercial world. In the span of five years, J.P. has cut spots for clients like NASCAR, UPS, Dos Equis, Avon, Siemens, British Airways and more. In typical fashion, J.P. has already hit the ground running at his new home with an exciting new project for DDB.

“I couldn’t be happier to be on the roster at BlueRock and to get the chance to work on a wider variety of projects at another level,” J.P. said. “BlueRock’s capacity for recognizing talent combined with their proven ability to build an editorial brand makes me super excited for the future.”

“It’s evident in all J.P.’s work that he has a brilliant approach and touch to storytelling, whether it is scripted or non-scripted work. He brings an aesthetic quality to his edits that is developed far beyond his years,” says Liz Mason.

“BlueRock is incredibly proud to welcome J.P. Damboragian and Jim Helton into the fold. They represent what the future means to us, which is the ability to tell a story in a beautiful and compelling way, no matter the medium or length.”

Community Films signs Director Marius Crowne

Community Films has signed Director Marius Crowne to the company’s diverse roster of talent. Crowne joins Community in the midst of being selected for the prestigious “New Director Showcase” by “Shoot Magazine.” The Director will be featured in a panel discussion at the DGA in New York this Thursday, May 26th.

Want to see his reel? Check Director Marius Crowne’s reel at Community Films. Raised in the Appalachian steel town of Ashland, KY, Marius earned a bachelor’s degree in Russian Literature at The University of Kentucky before moving on to studying film at the Savannah College of Art and Design (SCAD).

“Community seems to be one of the only production companies out there that has a stable of Directors that are all doing something different,” says Crowne. “Each one of us has a clear, distinct vision, and I love the idea that when I get put up for a job, it’s because I’m the best person for the job — that my style was right for the client — rather than just being a face in a crowd of very similar looking faces.”

Crowne joins a roster of directorial talent at Community Films, which includes Directors Seth Gordon, Jared Hess, Michael Patrick Jann, Matt Smukler, Pam Thomas, Clay Tweel, Clay Williams, and Emil Möller.

“We are so excited to have found Marius and to have him join our team of Directors here at Community,” explains Executive Producer/Partner Lizzie Schwartz. “He is an extremely talented and creative storyteller, with a wide breadth of experience even though he is really a newcomer.”

“After submitting his reel to ‘Shoot Magazine’ for the New Director Showcase, we were thrilled to hear from the Editors that they agreed Marius’ talent is unique and innovative, and worthy of being part of the showcase this year,” adds Community Executive Producer Carl Swan.

The Beancast Super bowl hating episode. "Madonna Wins"

Five hours ago I managed somehow to record Bob Knorp’s the Beancast together with the excellent ad-critics Ken Wheaton ( @kenwheaton ), Managing Editor Ad Age, David Burn ( @davidburn ) Editor/Publisher of Adpulp and Bill Green ( @mtlb ), cofounder of Adverve Blog and Podcast.

Cliff notes: we hated the super bowl ads. So much that Bob had to delete all the “shit” we said. I’m sorry for being a pottymouth, Bob. My bad. I still reckon that Madonna won the super bowl.

Despite the headcold from hell, I managed to hang on until the end there, and the topics we covered included Komen’s PR disaster, facebooks new mobile challenge, and more super bowl topics. Tune in here and see if you can spot at what point my Nyquil-like meds hit me. 😛

Here’s the SNL skit we talk about:

Director Jean-Paul Frenay Joins Accomplice Media

Los Angeles—Belgian-born director, creative director and visual artist Jean-Paul Frenay has joined Accomplice Media Accomplice Media for U.S. advertising projects. Frenay’s eclectic output encompasses commercials, music videos, short films, live visual installations and photography. This includes award-winning work for such brands as Toyota, VW and CPH Bank.

Frenay’s short film You Are the Canvas was a finalist in the Title Design competition at this year’s SXSW Film Festival. His most recent commercial project, a campaign for Lincoln and New York agency Hudson Rouge, showcases his mastery of storytelling and visual effects as a woman dances on the walls and ceiling of an elegant drawing room. He also directed a magical spot for Nissan and Digitas LBi Paris in which a Leaf “dreams” of traveling country roads while “sleeping” in a suburban garage.

Accomplice Media executive producer Mel Gragido says that Frenay’s versatility and the scope of his creative vision make him a unique talent. “You rarely find a director who is as skilled with visual effects as he is sensitive to his actor’s needs.” Gragido notes. “From live action to visual effects to tabletop Jean Paul shows a mastery of technique that says he cannot be pigeonholed. We believe when people see the work and recognize the talent, they will create projects with him in mind.”

For his part, Frenay says that he chose to join Accomplice because Gragido and executive producer Jeff Snyder embraced his desire for constant self-reinvention. “I was looking for a company whose vision went beyond the work I’ve done in the past,” he explains. “I hate repeating myself and was looking for partners who will bring me new challenges.”

Jeff Snyder is enthusiastic about the addition of Frenay to Accomplice. “I was riveted watching his work when I first saw it,” Snyder notes. “JP’s work is a masterful blend of amazing visuals, engaging performances and technical expertise. I’m excited for the opportunity to work with him and bring his unique talents to agencies and brands here in the U.S.”

Frenay began his career as a Flame artist and evolved into directing ten years ago. He quickly became known for his ability to blend techniques, including live action, stop motion, CGI, miniatures, motion design, video mapping and photography. His commercial reel includes groundbreaking, mixed-media work for Nike, Brother, Peugeot, Nescafe, Nissan.

“I look for projects where I can break boundaries,” Frenay says. “I’ve done that throughout my career. In addition to my desire to continue my work in commercials, I’d like to develop my repertoire to include longer formats and content related projects such as features and TV series, especially those that mix storytelling and visual effects.”

Outside advertising, Frenay has created visuals and interactive installations for plays, dance and experimental works. His short film Artificial Paradise, Inc. was nominated for an Animago Award for Best Technical Direction and screened at festivals worldwide.

For more information about Accomplice Media, visit Accomplice Media

Dwayne Johnson's Seven Bucks Productions Launches YouTube Channel with Studio71

Seven Bucks Productions, co-founded by Dwayne Johnson and Dany Garcia, today announced the launch of a new YouTube Channel, Seven Bucks Digital Studios, to their ever-expanding media footprint. The multi-platform production company has partnered with Studio71, the digital entertainment company and multichannel network of the ProSiebenSat.1 Group, on the venture that will debut in Summer 2016. ‘The Roc’ announced this with a clip on Instagram.

“Other than my family, social media is my strongest relationship and it’s allowed me to connect on a very direct and personal level with fans globally. We’re thrilled to partner with the world-class team at Studio71 to deliver cool, compelling and entertaining content for audiences around the world to enjoy,” said Johnson. “Seven Bucks and Studio71 both share a passion for innovation and excellence. The launch of this channel and the collaboration with Studio71 only strengthens our ability to provide the greatest level of entertainment to our consumers on all media platforms,” added Garcia.

Seven Bucks Digital Studios is a natural extension of Johnson’s expertise and passion for social media platforms and digital content creation. Johnson, who has over 100 million followers across his social handles, will feature his own videos as well as shine a spotlight on Seven Bucks Productions’ projects along with other creators who share his work ethic and drive to inspire, motivate and entertain. The YouTube Channel will deliver monthly collaborations with top digital native talent as well as an action-filled scripted online series.

“Through Seven Bucks Productions, Dwayne Johnson and Dany Garcia have built an entertainment brand that crosses all mediums, and we see this as an organic expansion of Johnson’s huge online presence,” said Dan Weinstein, President, Studio71. “This partnership furthers our mission to work with the best creators to deliver premium content across all platforms, and we can’t wait to launch a YouTube channel that reflects Johnson and everything he and Seven Bucks Productions stand for.”

Deep Focus Appoints Anna Ibbotson President to Oversee Its Los Angeles Operations

Deep Focus, a global digitally-led creative agency and part of Engine Group, today announced the appointment of Anna Ibbotson to President of its Los Angeles office. Reporting to Founder and Chairman Ian Schafer, Ibbotson will be responsible for building and managing a team of 80-plus, as well as overseeing the augmentation of Deep Focus’ branded content capabilities through collaboration with sister content and entertainment marketing agency Trailer Park.

“Anna is a fearless leader who is fueled by the constant state of media disruption,” said Schafer. “Her unique entertainment and brand background gives her the expertise and vantage point necessary to lead brands in creating cultural connections with consumers through meaningful engagement with content, regardless of the platform. Her stewardship will help us to be even better leaders for our clients as we continue to strengthen our West Coast presence.”

Ibbotson has a strong hybrid background in both the production and ad-marketing industries. Prior to joining Deep Focus, she was Senior Partner, Executive Group Director at Ogilvy & Mather in Los Angeles and Chicago. She previously ran operations and production at LA Digital Post (now owned by Moviola), as well as supervised postproduction at Modern Video Film for Warner Bros., FOX and CBS network properties including The OC, Gossip Girl and Malcom in The Middle.

“My vision is to establish the LA office as a creatively driven agency fueled by insights, technology and innovation,” said Ibbotson. “Deep Focus doesn’t believe in the divide between traditional and digital marketing. We’re holistic in both our strategic thinking and in our client solutions, and it’s what continues to set us apart in an ever-evolving digital age.”

Throughout her 20-year career, Ibbotson has touched some of the world’s largest brands, including Kimberly Clark, Xerox, Adobe, AT&T, HTC, Tabasco and Taco Bell.

TBC Corporation’s Retail Brands have a mascot: Turner the spokeswheel

A new ad mascot has been born. His name is turned and he’s a weird looking anthropomorphic steering wheel. He’ll appear in ads for NTB brands, from tv commercials to social media snarks.

“We’re excited to introduce Turner to consumers,” said Scott Stoughton, Chief Marketing Officer of TBC Corporation. “As a steering wheel, Turner is truly a unique brand icon; he’s the central nerve center of our vehicle making him qualified to give tips and advice on everything car care related. In this capacity, Turner’s primary responsibility is watching out for consumers while on the road and we’re confident that consumers will recognize his position through his witty character, sense of humor and genuine concern for their well-being.”

CATS wants to fill a tube station with cats instead of ads

In silly kickstarter news of the week, there’s a bunch of renegade creatives (a.k.a Glimpse who want to create positive social change) are attempting raise enough money to plaster a London tube stations with pictures of cats instead of ads. If you donate over £100 you can even feature your own cat in the cat-anti-ads. Cads? Meowertising? I don’t know what to call non-ads with cats.

The kickstarter is created by The Citizens Advertising Takeover Service, ie: (CATS) – they’re confident that they can do ten posters with their £23,000 goal. If they get even more money, such as the lofty stretch goal sum of £75,000 “we could do Oxford Circus or something.”

We know this is a silly project. But what if we did this around the whole country, or in every major city in the world? Cats everywhere!

Dumb yes, but also this is about trying something, flexing our collective voice in the most idiotic of ways. From all this madness something amazing could happen. Perhaps we’ll start to realise that buying stuff isn’t making us happy.

Maybe cats won’t make us happy either, but it’s got to be better than insurance adverts. Maybe during this moment of cat related calm we might have a brilliant thought, or a dumb one or even… spend a moment thinking about nothing at all.

Do watch the kickstarter video, there’s a little blond girl with a guitar and the most adorable lisp I’ve ever heard saying but one word in it and I almost donated just for that. Creatives trying to change the world, by advertising, may seem a little ironic to some – but at least they’re ambitious. Taking over all of Oxford circus with cats. Why not? If you pledge £5 you’ll get an ad blocker that replaces all the ads online with pictures of cats instead. If you like that sort of thing you’ll love the chrome plugin make America Kittens again right now, as it replaces all images of Trump with pictures of cats. Since he’s all over the news lately, all I see all day is kittens.

Female cinematographers create International Collective of Female Cinematographers (ICFC)

Women who work as cinematographers can now join an international group called the “International Collective of Female Cinematographers (ICFC)”, created to giving public face their “often overlooked” minority in the industry. Their website icfcfilm.com has a database of the women who behind the camera, and list their skillsets so you know what they’re good at. The ICFC hold local events for members, while the database serves as a global job site if you need to find a qualified DP anywhere in the world.

In their official launch statement they explain: “The aim of the collective and web presence is to establish that female Directors of Photography are not, in fact, an anomaly…Individually ICFC members identify as simply Cinematographers — without gender qualifiers. However, as a group, they’ve found it useful to organize around gender until such time as women cease to be perceived as statistical anomalies or token hires behind the lens.

“Though they are indeed technical wizards, Female DPs are by no means magical or imaginary; our rarity is often overstated, while our under-employment is frequently overlooked.”

You can find some of the current members on the website already, such as Tarin Anderson (depicted above), Sandra Valde, Liz Yarwood and Savannah Bloch.

Ruffian Hits Los Angeles

Ruffian has marked its turf stateside, opening doors on Sunset Boulevard in Los Angeles, offering high level craftsmanship with absolutely no compromises.

Founder / EP Robert Herman arrives with extensive production experience, running global house Stink as Managing Director/COO for 16 successful years, an experience gracing him with the confidence and tenacity required to build Ruffian his own way – alongside the best people, delivering high-level craftsmanship while never holding back on his passion.

“We are Ruffian because we’re honest about who we are,” Herman says. “We tell it like it is. Sometimes you have to get your hands dirty to get the job done, and a Ruffian won’t shy away from tough decisions or hard work. We want people to know that we’re serious about film, but a true Ruffian does it with charm, humor and a touch of style.”
Ruffian’s network of global partners offers clients the opportunity to shoot in unique locations with influences far outside their ordinary frame of reference. The company’s resource base will also extend further than others by inviting designers, writers and photographers into the creative process of storytelling.

“Game-changing ideas can surface anytime during production and we will capitalize on those moments so that nothing passes us by,” Herman adds.
This unconventional approach to film-making allows Ruffian more freedom during the creative process, enabling the formation of work that is both surprising and memorable – especially to those seeking content with less of an imperialistic lean:

“We are your partner not just another vendor,” outlines Herman on industry dynamics, seeing Ruffian as more of a creative outreach. “Agencies dislike the industrialization of production. Our community has a habit of doing things one way and replicating that a million times over. Agencies need something new and appealing, especially with brands demanding so much. That’s where we come in. We have the talent so let’s embrace change and do it differently. It doesn’t have to be the same.”

Discussing his passion for craft and Ruffian, Herman admits that it’s not often you have an opportunity to launch a new company and re-align your core values: “When you love what you do there’s no need for a work-life balance anymore,” he states. “Ruffian is a new film production company composed of people who’ve had enough experience to know how important that fact is.”
Herman’s opening roster displays undeniable raw talent, each director’s unique style complimenting the rest. “I feel the responsibility for my directors as soon as I wake up,” Herman admits on Ruffian dynamics. “This core of directors is so important and precious to me. It feels very special.”

As for the road ahead, Herman is upbeat. “Be it Europe, Africa or Asia when you walk through our door, you could go anywhere in the world,” he wraps.
Ruffian is represented by Bueno on the west coast and RepresentationCo on the east coast.

180 tries poaching people from 72andSunny and R/GA via Snapchat

180 Los Angeles are hiring people in all sorts of positions right now, and they want you to apply, if you happen to work at 72andSunny, Facebook, Buzzfeed, R/GA or nearby Google.

In order to get the word out, while showing off their millennial social media finger on the pulse skills and targeting the ad-people they want, 180 LA are using Snapchat and geofiltering so that the messages appear for people who happen to be in the targeted agencies. Wednesday morning 72andSunny employees got the above image on their phones. I have it on good authority that 72andSunny workers scoffed “Man, who is still even on snapchat these days?” publicly and rolled their eyes in front of their co-workers, before sneaking off and typing up resumés.

Previous 180 poaching tactic includes “The most direct recruitment ad ever”, where they entered their job opening in Cannes lions to flirt with the judges.

Native Content Signs Iain Mackenzie

Native Content today announced the addition of award-winning filmmaker Iain Mackenzie to its directorial roster. The prolific Mackenzie is known around the world for his stunning visuals both as a cinematographer and director, with clients including Apple, Coors Light, The Home Depot, Lexus, Visa, Campbell’s, Mercedes, McDonald’s, PNC Bank, Dow, Subaru, and many more. His work ranges from dramatic to humorous and linear to surreal, always anchored by a firm sense of story and atmosphere.

Born and raised in the U.K., Mackenzie earned a degree in photographic arts and film from Polytechnic of Central London (PCL) and cut his teeth as a cinematographer before entering into directing. A passion for craft and a talent for multitasking led Mackenzie to establish himself as both a successful DP and director, lensing his own projects. Building a successful career across Europe, Australia (where he is a member of the Australian Cinematographers Society), and the U.S., Mackenzie has earned countless awards including numerous Cannes Lions, D&AD Pencils, London International Advertising Awards, and a spot on Campaign Brief’s list of the top 20 directors of all time.

“Iain knows the craft of filmmaking inside and out, and his skills as a cinematographer and director are unparalleled,” said Native founder Tomer DeVito. “He has the ability to tell a complete story within every single frame. I’ve known Iain for fourteen years, have admired his work for even longer, and I am thrilled to have him join the Native team.”

In Memory of Mike D'Abreu

A few years ago everyone I know in advertising was nodding heads and shedding tears when the Martin Agency’s President Mike Hughes wrote a posthumous blog post on what life (and death) meant.

The blog he kept as he knew he was dying was intensely personal, inspiring, funny, and emotional. The posts were a testament to just how much we learn during our short years on this planet. I never met the man, and never knew him, and yet I got so much from his posts, it was hard not to go to Unfinished Thinking and not walk away thinking I was better for it.

While Unfinished Thinking II is still online, his primary blog is not. We tend to think if it’s online then it’s forever, but that’s not really the case.

Social media has largely contributed to this problem. Advertising on social media has become an in-the-moment thing, and not a long-lasting thing. Sure people talk about Oreo’s blackout tweet that happened during the Superbowl, but do you know which Super Bowl? Or what year? If you don’t Google it, you’ll have to scroll through three years of tweets. Because that tweet was in February of 2013, the same year Mike Hughes died. In social media three years is lifetimes ago. We aren’t supposed to remember posts longer than it takes to like, share, retweet, or quote. The virus replicates quickly, gets all the PR it can, and then dies off just as quickly.

Such is the expiration date of social media. Our own expiration date should be celebrated for a bit longer than a few days.

The CEO of Adland, Åsk Dabitch Wäppling, was nice enough to allow me to write this post for another Mike, who worked in advertising. The majority of you won’t know him, but that’s okay. If nothing else, he was one of us.

His name was Mike D’Abreu.

I was in Mike D’Abreu’s graduating class in the Creative Circus in Atlanta, back in 2003. He was a New Yorker through and through, larger than life. A take-no-shit-from-anyone kind of guy. Cigarette forever in hand, baseball hat always on his I suspect, balding head, but I can’t be sure because I never once saw him without a hat, and of course now I won’t ever see him again because I learned the news that he passed away on April 17th.

Mike was a writer. A sports enthusiast. We once went golfing in February. It was my first golfing experience. I was terrible. He didn’t care. He liked the company. Mike liked heavy metal bands, especially Biohazard. He had a certain edge to his joie de vivre which made him seem exciting to some, potentially dangerous to others. I know he enjoyed that. Either you got him or you didn’t. He didn’t care. Which was ironic. Because at his heart, Mike was a very caring guy, willing to dispense advice whether you asked for it or not. But almost always the advice he gave was correct.

A gaggle of us spent our weekends at his apartment on Monroe Place, hosting barbeques that grew larger and larger, with more and more eclectic cuisine and people. We started with Johnsonville Brats and burgers. At one point, I started making crab cakes. It was like an Algonquin Round Table of well-fed advertising students. All of us creative freaks.

On Thursdays, after an almost-finished week, three or four of our regular crew would head to Moe’s and Joe’s, a dive bar that sold four-dollar pitchers of Foster’s. The bar was a dump, but it was bright and fun and you never knew who would show up. Mike was up for anything; it was perfect for him.

Despite the wild side, Mike was a professional. While some of us were in our mid-twenties and still figuring out how to be grownups, Mike had that professional side on lock. He did his work and he believed in it. Even in school, he had a vision. And thirteen years and scores of mediocre creative directors later, I can safely say he was real creative director material. Perhaps it went back to the no B.S. New Yorker thing, but Mike would have been the guy who would make a decision. Not one of those “keep trying because I’ll know when I see it,” types that are crippled by insecurity.

While Mike and I drifted in and out of touch over the years, I did keep up with his career and watched him hop up and down the east coast from afar. Like most people in my graduating class, I got a vicarious thrill seeing where we all ended up in advertising and life. Mike wasn’t supposed to end up here so soon, though.

The people who become parts of your life, be it long-term or for a brief and shining moment, are there to teach you something. They might teach you what to do, or what not to do, and usually the latter is taught inadvertently. They might be there as a bridge to another part of your life, or they could just be there to cement some fantastic memories. From Mike, I learned what to do, and created some fantastic memories.

The last thing I’ll say is this: People in advertising constantly remind us how busy they are. But when it comes to someone’s death, they’re worth a hell of a lot more than a social post ending with #RIP. Hashtags shouldn’t be anywhere near death; they serve the poster more than they do the departed.

While we all want to live long and healthy lives, sometimes it ends up more like a social media post: it grabs your attention for a while and then you move on. If those people really meant something to you—let them know.

If you didn’t get a chance to tell that person, try to celebrate their lives in a different way. Call a mutual friend to reminisce, have an email back and forth, hell even a text message string will do. But if you do decide to put it online, try to choose a media channel that is designed to be more permanent. The dead deserve more than 140 characters.

Tribal Worldwide London appoints Deputy Managing Director and Head of Delivery

Tribal Worldwide, London has announced the promotion of Kelly-Ann Maxwell to the newly created role as Deputy Managing Director, and the appointment of Marc Elmer to the role of Volkswagen Head of Delivery at the agency.

Maxwell, formerly Head of Operations at Tribal Worldwide London, will work alongside Managing Director Tom Roberts, focusing on the day- to-day management of the agency and shaping its future growth plans. In addition, she will take overall responsibility for managing the Delivery, Technology and Operations teams.

Marc Elmer, former Head of Product Development at LBi, will be heading up the Volkswagen Delivery team at Tribal Worldwide London, reporting directly in to Kelly-Ann Maxwell. Marc will be responsible for bringing further delivery expertise and guidance – ensuring the delivery capabilities support the growing needs of the agency and Volkswagen.

During his five years at LBi, Marc grew the offshore development capabilities and led the development of innovative marketing software that helped the agency become part of the Publicis Groupe. He also ran the global ‘Helios’ platform build for Nissan/Renault. Before joining LBi Marc was an engineer specialising in tactical communication with the Royal Air Force for more than a decade.

The new appointments mark a scale-up in Tribal Worldwide London’s Service Delivery offering, with the Head of Delivery team boasting a combined experience of over 40 years in the industry. Diverse in terms of knowledge, experience and work, the team will support all of Tribal’s clients and further the agency’s excellence, helping clients drive forward their digital ambitions of delivering best-in-class experience and innovation.

Kelly-Ann Maxwell said: “Marc brings to the table a vast experience in the automotive industry where he has delivered large scale projects through developing high performing delivery teams and processes. I am excited to welcome him to the Tribal family where his pragmatic approach accompanied by his desire to get his hands dirty is a perfect cultural fit.”

Marc Elmer added: “It’s a privilege to join a business with a history of creative excellence dating back years. Playing a pivotal role in assisting the growth of the business is a challenge that I look forward to, in addition to bringing adaptive delivery methods to Tribal and our clients to help forge best practice and results.”

Whitehouse Post Los Angeles Welcomes Editor Brian Gannon

International editorial company Whitehouse Post is excited to welcome Brian Gannon to their Los Angeles office. Gannon will relocate from the Whitehouse Post Chicago office, where he began his career in post over a decade ago. A well-known staple of the Midwest advertising community, Gannon has worked on a variety of campaigns with agencies such as DDB, Y&R, Energy BBDO, Periscope, and mcgarrybowen.

“We are very excited for Brian to join us on the West Coast,” says Los Angeles Executive Producer Joni Williamson. “His Midwestern charm combined with an incredible knack for cutting comedy make him a great addition to our LA roster.” Gannon has cultivated relationships with directors including Rodrigo García Saiz, Zach Math, and Rocky Morton; and his comedic editing style has generated laughs for brands as diverse as Skittles, Cars.com, Capital One, McDonald’s, and Bud Light.

In addition to his commercial work, Gannon has edited several music videos as well as short documentary films for Wilco and Thomas Keller. His work has been awarded at the Chicago International Film Festival, The Midwest Independent Film Festival, and The One Show.

About Whitehouse Post:

Whitehouse Post believes in the art and craft of editorial storytelling built in a creative and supportive environment. Central to this philosophy is an emphasis on nurturing the best young talent into excellent storytellers who consider the importance of visuals, music and sound working together. Production and finishing partnerships with sister companies Cap Gun Collective and Carbon VFX, as well as with design-driven production company Gentleman Scholar, further cement Whitehouse Post as an invaluable creative resource for its clients. The studio’s deep reel of notable spots for high-profile brands and work on feature films and documentaries have earned hundreds of honors from AICP, BTAA, D&AD, Clio, and Cannes.

Believe Media announces in-house sales and marketing arm, Apostle.

Global production house Believe Media announces its dedicated in-house sales and marketing arm, Apostle. Carl Forsberg will head up the organization, which will operate out of the New York offices of Believe and cover strategic sales for the entire Eastern Seaboard, USA.

Forsberg brings years of experience to the post, where he will oversee all marketing strategy. He will be working with a talented group of professionals that includes Jack Strachan, who previously operated his own successful independent firm, Say Hey. Strachan is joined by Anna Rotholz, who has had a long-standing relationship with Believe. With 10 years of experience, Rotholz’s stellar reputation as an outstanding marketing strategist precedes her. Rounding out the lineup is Justin Lasoff, whose focus will be on sales and keeping the team organized and functioning efficiently.

Each member of the team brings their own skill sets to the table, as well as unique and overlapping contacts at every level. Luke Thornton, Executive Producer and Founder of Believe, remarks, “Believe is a major force on the East Coast within the luxury, fashion, and beauty markets, as well as being known since our inception as specializing in visual storytelling. Apostle is strategically built to be an in-house resource to the advertising industry, both in the realm of traditional media and new frontiers.”

Whitehouse Post Los Angeles Welcomes Editor Charlie Harvey

International editorial company Whitehouse Post is excited to welcome Charlie Harvey to their Los Angeles office. The move is a natural one for Harvey, who is currently based at Whitehouse in London and has made increasingly frequent trips to the West Coast to edit spots for brands such as Adidas and Gatorade. Earlier this year, Harvey won a prestigious Best Editing award at AICP for her work on Powerade “There’s Power in Every Game – Nico’s Story.”

Harvey began her career as an editor at M&C Saatchi and spent three years at Willcox & Willcox before joining Whitehouse Post in 2007. Known for her kinetic editing style, she has built an impressive reel working for brands such as Nike, FIFA, INTERSPORT, Foot Locker, Volkswagen, and Pepsi. Through her work for agencies including TBWAChiatDay, 72andSunny, BBDO, and Wieden+Kennedy she has forged relationships with directors AG Rojas, James Frost, The Malloys, and Tristan Patterson.

“We are beyond thrilled to have Charlie join our LA roster,” says Los Angeles Executive Producer Joni Williamson. “She has spent so much time in LA; most people don’t realize she isn’t local. She has an undeniable level of talent that is a force to be reckoned with.”

Harvey’s portfolio spans a wide variety of mediums including commercials, a feature, music videos, and documentaries. In addition to the AICP win, Harvey’s work has been awarded at the D&AD Awards and The One Show.

About Whitehouse Post:

Whitehouse Post believes in the art and craft of editorial storytelling built in a creative and supportive environment. Central to this philosophy is an emphasis on nurturing the best young talent into excellent storytellers who consider the importance of visuals, music and sound working together. Production and finishing partnerships with sister companies Cap Gun Collective and Carbon VFX, as well as with design-driven production company Gentleman Scholar, further cement Whitehouse Post as an invaluable creative resource for its clients. The studio’s deep reel of notable spots for high-profile brands and work on feature films and documentaries have earned hundreds of honors from AICP, BTAA, D&AD, Clio, and Cannes.