- Animal Farm. Klein Nussel, Karen E. // Advertising Age's Creativity;Nov99, Vol. 7 Issue 9, p34
Features the work of Quiet Man, a New York City TV commercials postproduction company that is fast becoming the choice for visual effects work. Led by Johnnie Semerald; Praise from clients and critics; Projects.
- Technique versus idea. Hamilton, James // Campaign;9/20/2002, Issue 37, p13
Focuses on the difference between technique and idea for the special effects in an advertising campaign in Great Britain. Effect of special effects on the advertising campaign; Improvements of the types of effects used in the advertising; Benefits of the use of three-dimensional animation.
- THE FUTURE OF EFFECTS. Sinclair, Mark // Creative Review;Jan2003, Vol. 23 Issue 1, p51
Discusses future trends related to the use of visual effects in television commercials. Visual effects in motion pictures adopted by producers of television commercials; Visual effects technologies in television commercial adopted in production of movies; Commercials that employ visual effects...
- The family is fine. Work is good. Life is wonderful. Townsend // SHOOT;03/28/97, Vol. 38 Issue 13, p4
Discusses the changes in the commercial special effects industry. Resurgence of special effects support business; Role of directors and creative artists in filmmaking; Changes in the structures of special effects companies.
- Body Shop. Suydam, Margot // SHOOT;04/07/2000, Vol. 41 Issue 14, p46
Reports that car commercials in the United States have taken the high road into the world of complex visual effects. Use of three-dimensional automobile models in the commercials of Ford Focus and GMC Yukon automobiles; Emergence of digital body shops such as Orem, Utah-based Viewpoint Digital.
- CreoCollective Grows Into Gotham. Vines, Emily // SHOOT;2/20/2004, Vol. 45 Issue 7, p7
Visual effects shop CreoCollective, with bases of operation in Santa Monica and London, has opened an office in Downtown Manhattan. The New York office will complement the other two locations, according to executive producer Jennifer Sofio, who added that the company saw a need for a larger...
- Image of the Week. // Advertising Age;10/25/1999, Vol. 70 Issue 44, p102
This article describes the advertisement created for the Sci-Fi Channel, a cable television network in the U.S. Something as seemingly simple as a soap bubble became the focal point of Quiet Man's assignment to create an opening segment for the network's original movies. In the finished product,...
- Back To The Basics. Lasky, Jeremy // SHOOT;5/30/2003, Vol. 44 Issue 21, p4
Coming off half a decade or so of ever-increasing pyrotechnics on the small screen, advertisers seem to be steering clear of the nearly indiscriminate animation and effects we've all become so used to. Interestingly enough, if a some-what more traditional approach to commercial design and...
- ODD PODS BREAK THE MOULD. Appleyard, Rodney // Inside Film;Sep2007, Issue 102, p31
The article focuses on the Toohey's Extra Dry beer advertisement entitled Harvested. The success of the advertisement lies in its highly original concept and the way director Steve Ayson has combined cinematography, dance choreography, music and special effects. The advertisement is an example...