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New Website Launch!
To simplify your search for relevant information, we have re-structured into three interfacing divisions covering TV/Cinema commercials, Corporate communications and Digital/Web content. Visit the new website for more info. |
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December 2005 - £41,000 - £60,000 |
Using the three colours represented in the logo, the brief was to show three examples of team activity – cycling, rowing and volleyball.
Firstly, we had to source the right kit in exactly the right (pantone ref.) colour and then find the respective team players to take part; all of whom needed to be within a 15 mile radius due to the short length of autumnal working days.
The sequences incorporate highly choreographed, action packed scenes shot at varying speeds. The director Chris Beckles wanted to also create a marked contrast between the scenes and worked closely with the Gary Szabo at Red Post Production to enhance the respective colour treatments.
Director’s comment:
'It didn’t matter that the weather was overcast on one day and brilliant sunshine the next since there was no need for continuity between scenes.
The sunshine was wonderful for the rowing scenes, but we had to be quite inventive for the cycling sequences since at times the light was so poor it was almost impossible to shoot, especially at 50fps.
The volleyball scenes presented their own set of problems - like making 20 people look like a crowd - but thirty five disposable cameras all flashing over the action did the trick.' Chris Beckles
Colin Maguire , Creative Director Dept, Genesis Advertising
Ever noticed that when people work together they get better results?
This was the first time that Genesis and Commercials Unlimited had worked together and it gave us the opportunity to get to know each other. CU put in a lot of prep work – visual treatments and the like – to confirm that we, the client and the director all had the same ideas in mind.
Our client had seen the final concept many times on paper, but Chris was able to understand and interpret the clients’ requirement whilst adding his own treatment and ideas, without losing what the commercial was about.
We, and more importantly our clients, are very pleased with the final outcome. The look and feel gets across the strong corporate branding and the idea of what 'Go for it' is all about i.e. working together for better results.
Colin Maguire
Dep. Creative Director

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New Animation directors.
I am pleased to inform you we have added two new directors reels to our web site. Darragh O’Connell for classic 2D animation and Rory Bresnihan (ex Aardman) for model animation |
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November 2005 - £41,000 - £60,000 - (E57,000 – 84,000) |
View the storyboard here
A slight change to the format of the Case Study this month as I have included the storyboard; this is because it’s a classic example of storyboard interpretation without deviation or alteration. The main priority was to ensure that the commercial maximised the brand logo and core identity and the brief was to ensure categorically, that this directive was followed to the letter. Such was the success of this strategy, sales increased by 200% after just two weeks on air.
It was a deceptively straightforward script that harboured a potential nightmare. The main thrust of the commercial was to re-create the set on the pack and get a cat – a cat identical to the one on the pack – to sit contentedly on the back of the sofa in exactly the same position. We found just the right cat only to learn that the cat on the pack was a composite of separate cat elements, so we weren’t entirely sure if such a pose was possible. But with patience we did it – in time and in budget - with a lot of the credit going to Rupert the cat, his dedicated owner and wafer thin slithers of ham. Far from being a nightmare, it turned into a dream of a shoot.
‘Director's comment:
I like cats. Like me they don’t hurry, or get stressed or like a lot of unnecessary fuss. We knew it could be a long day…or maybe a short one… we simply didn’t know so we just got on with it. Rupert was the same, he was cool too and once he’d got the hang of it he posed beautifully over and over again. It was all about attention to detail. But relaxed, just how we like it.
Agency comment:
Rob Young , Joint Creative Director, Fox Murphy Advertising
Just a quick note to say how much we have appreciated your collective expertise, professionalism and patience throughout this project. You brought the storyboard to life superbly, and the resulting ad looks terrific.
Many thanks. You were a pleasure to work with.
Rob Young.

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Recently
completed or in production
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| Bradford
Rejuvenation - Director Simon Devine |
| Holland
and Barrett - Director Suki |
| Olli
Cat food - Director Stan Peplinski |
| Royal
Mail Stamps - Director Simon Devine |
| Invest
Northern Ireland - Director Chris Beckles |
| James
Villas Holidays- Director Laurie Castelli |
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New
directors (Animation)
We
are currently reviewing and increasing the number of animation
directors on our roster and are pleased to announce that as
of next month we will be uploading reels from Darragh O'Connell
(Classic 2-D animation) and Rory Bresnihan (model animation).
Hoo
Ha House update
Jo
Marsden (company founder, producer and art director). Has
the first of 27 books released (29th of September) entitled
Hoo Ha house.
Synopsis
A letter marked 'Urgent' arrives on the doormat:
"The Hoo Ha House is scheduled for demolition!" What can be
done to save the Hoo Ha House? An adventure ensues...will
the lost manuscript detailing Lord Hoo Ha and his magical
secrets which enable things to come to life be found in time?
And if it is, will it be enough to prevent the waiting demolition
gang from destroying the magic inside? Oh! What a Hoo Ha...
Click here to go to the children's web site
An
article on Jo was featured in The
Times (Saterday
24th September) click here to read the
article.
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September
2005 - Rubber Johnny
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Re-edited from Blow Up to a 3 minute film
with an improved music track)
Official Festival Selection
Raindance Film Festival
Halloween Film Festival;
Nominated for Fortean Times Award.
Cardiff Film Festival
Triggerstreet Film Festival
Winner of New Producers Alliance short film
of the month for September.
Finalist at New Producers Alliance short film
competition.
Selected for the Rough-cut film festival final
11th October 2005 at The Kick Bar (only 12 films selected)
Five-year distribution deal with 'Britshorts'
& 'Shorts International'
Director's comment: Shot on 35mm over
2 days in derelict hotel adjacent to St. Pancras Station.
'I wanted to create a glossy seductive, well-crafted film
that used only visuals with no dialogue to tell the story
of a Japanese cowboy wanting to realise his fantasies.
This film works on many levels but remains
simple and effectively while entertaining on an international
level. Every detail was crafted; the mood, the art direction,
the casting, costume and music with SFX adding greatly to
the mix and twist to the story.

Click
here to see more on Suki
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September
2005 - Invisable day trailer
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A concept trailer shot to promote this up
and coming feature film.
www.invisibleday.com
Shot on Super 16mm as a one day shoot on location
at Woodbridge near Ipswich (dressed to look like Maine, USA).
Director's comment:
This is a chilling supernatural thriller
about a family who lose 24 hours of their lives; they go to
sleep on Tuesday but wake up on Thursday.. "What the hell
happened to Wednesday?"
'I wanted to create a trailer that looked
like the real thing; a trailer for a movie about to be released
that would also serve as a concept pitch aimed at investors.
The location and the art direction were crucial
to make it feel like small town America. I then applied a
strong storyline adding a layer of danger, of mood and music.
Finally, the 'trailer style' voice over was all that it took
to hit home with the tension. The cool thing is it worked,
and an option has been agreed for the script in both LA and
the UK that in 2006 will take Invisible Day into production
with me as a writer/director.'

Click
here to see more on Suki
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August
2005 Web site relauch,
Featuring a new design, dedicated client’s
area, reels by category and downloadable (pdf) showreel
packs with embedded links to the directors’ work (very
handy should you wish to email a director’s reel to your colleagues)
and lots more. The beta version of this content driven site
(although in its infancy and will continue to grow) is designed
to offer enhanced navigation to relevant media.
If you have a particular requirement
for a director (should the criteria be availability, industry
sector, sync sound or style) we can search the archives of
our 14 directors and build and email the sourced spots, prior
to burn and dispatch. Agencies are finding this a unique time-saving
service, removing the problem of sourcing the relevant material
for client presentation.
Hoo
Ha House
Jo
Marsden (company founder, producer and art director). is currently
creating a right old hooha and is featured on the front cover
of this months Bookseller
magazine launching a major multimedia property called
Hoo Ha House. The first (generic) book comes out on the 29th
of September, with a further 26 books to follow.
Hoo
Ha House - The property has been taken up by Imagineire whose
holding company, Imagination Holdings has formed a 'strategic
alliance' with the multimedia company Galleon Holdings who
have stakes in Hollywood animation company J. Christopher
Entertainment and promotions company Croco. To find out more
go to www.hoohahouse.com
or order the book from Amazon
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August
2005 - £41,000 - £60,000
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A one day Super 16mm mute location shoot.
A school full of excited children, a limit
to the working day and enough featured children to meet the
criterion of the rhyme 'Mondays' Child'. Oh, and by the way,
the budget will only afford a one day shoot and all the shoes,
in various width fittings, have to fit perfectly.
There were no holds barred with the casting;
it had to be - and was - spot on and everyone was delighted.
The shoot was carefully planned beforehand
with an extremely helpful school in Enfield, North London
providing the location, all the background children and the
uniforms; except that something like 20 pairs of new trousers
had to be shortened throughout the day…
Directors comment:
'Children are great to work with if you're
one of them; it's a question of speaking the same language
and feeling the same feelings - so I get tired, bored and
hungry along with them. It's a long day. I don't get children
to act, I get them to express their own reactions to a given
situation. We talk things over.'

Click
here to see more on Suki
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| July 2005 |
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A one day Super 16mm mute location shoot
It's a very fine line between 'funny' and 'cringe'. Get it wrong and the cringe factor will haunt you forever, but get it right and you have a highly successful commercial. This concept could have been a recipe for such a disaster, but for the flair of the Director, the wisdom to get the casting right and for resisting the temptation to overplay it.
It took three lengthy casting sessions to finally be absolutely sure that the casting was spot on - Dad turned out to be the father who escorted his daughter to the casting session (Dad being the owner of a local pie and mash café) and had joined in purely to help his daughter out.
Needless to say that his daughter was so genuinely horrified by Dad's performance, she got the part of daughter too.
Working closely with a choreographer, we perfected Dad's moves and natural rhythms. He lived the part; he was that embarrassing Dad.
Two commercials were produced and were aired at either end of a commercial break. This enabled recall of the principle commercial and added greatly to the humour since the second commercial was entirely the girls' stunned and embarrassed reaction.
Director's comment. 'When Tony (Dad)
danced it all clicked, it was hilarious; so I just had to
keep it under control, play it straight and watch the timings.
The choice of music was critical, so rather than have music
of a bygone era ('Earth, Wind & Fire’ and all that),
and bearing in mind that he was being 'hip' with the internet,
we composed a suitable rap track for him to strut his stuff
to.'

Click
here to see more on Chris
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1 day mute 35mm bluescreen shoot plus 'X-ray' and CGI
Hugh Turvey pioneered a technique in coloured X-ray photography and Simon Devine implemented the transition to live action.
Each of the six scripts required live action 'X-ray' images with the subjects covering a fish swimming, bees buzzing, clocks ticking, an arm yo-yoing, letters landing and toast toasting.
Although there’s no problem X-raying inanimate objects, this was not possible with the bees, fish or human arm. Also, producing the animation as X-rays was out of the question due to the high degree of accuracy required, neither was it a practical solution.
The approach for ‘Fish’ was ingenious; we researched the bone structure of a sardine and found a larger, freshwater fish that was similar and shot live action footage of the fish swimming against bluescreen
Various key stage reference X-rays were taken of another fish (a herring) then the live action was used as the basis for conventional rotoscoping, providing the template the animation for finishing in CGI. The sound- design added greatly to the overall effect. ‘Post Box’ was produced entirely as key frame X-rays and CGI.

Click here to view the full Set of 6 commercials
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Prior
to affiliating with Commercials Unlimited, Laurie's work
in the last 5 years has included commercials for brands
such as AOL, The Daily Telegraph, Telefonica, Samsung Sony
Playstation and Gordons Gin as well as non commercial projects
including a Victimas
del Terorismo commercial (Association for the Victims
of Terrorism) featured below.
His
experience in advertising began during a six year stint
at BMPDDB where above all, the importance of good ideas
was given pride of place. Whilst trying not to cultivate
any particular style, Laurie aims to introduce an element
of 'humanity' into every script. .
Whether
it is humour or drama, dialogue or special effects, Laurie's
approach is always to try and make an emotional impact by
connecting to a real human emotion. Born in Spain and brought
up in the UK by parents with Italian, Spanish and French
roots, Laurie now divides his time between London &
Madrid.
Laurie
is no stranger to working in diverse markets, having shot
in Kenya, Moscow, Dubai, Bulgaria,
Prague, Athens, Madrid
and London during the last year
alone.
NB:
This
month's Case Study shows work directed by Laurie prior to
his association with Commercials Unlimited.
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Director’s
Comment
"Being
The Telegraph, this commercial was designed to promote its
coverage of football in a less 'laddish' tone than one normally
sees on TV.
The
idea was to give the impression of the camera happening
to stumble upon people as they enjoy their own private 'football
moment'.
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The
ad features several situations, including offices, a kitchen,
a canteen, a car-park etc. On a limited budget (£35,000
E49,000) the problem was how to fit a number of locations
in to a very tight shooting schedule. The solution was to
shoot the whole commercial at Shepperton Studios - not the
stages, but throughout their complex of other buildings
and facilities! Once we had made that decision, it was a
question of adapting the scenes to fit the locations we
could find." Laurie Castelli.
*Click
here to
view the full Showreel
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Directors Comment
"Even
before the Al Qaeda train massacre in Madrid, Spain had
lost nearly 1000 victims at the hands of the Basque separatist
movement (ETA), and this piece was commissioned to commemorate
the lives of those who have been killed.
Given
the sensitive nature of the subject, not to mention the
tiny budget, the whole production was moved from Madrid
to Sofia in Bulgaria. By avoiding specific signs or indicators,
all the locations pass as Spanish for the purposes of the
film.
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here to view the commercial
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The
1 minute piece was shot on Super 16mm over a period of 4
days, often moving location 3 times in each day. All the
cast are Bulgarian; but the names written on their foreheads
are the authentic names of some of the many people whose
lives are being commemorated."
*Click
here to
view the full Showreel
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The Case Studies for April and
May will focus on the launch of two Directors who are new
to Commercials Unlimited. As you may not be familiar with
their work, I have asked them to write a couple of case
studies. Next month - Laurie Castelli
Director - Chris Beckles Chris
has been directing since 1997; after a career as a competitive
semi-contact kick boxer (with a European title under his
belt) Chris graduated from Liverpool with a degree in graphics
and went on to Watford College and a post grad diploma in
advertising. Chris worked at some of London principle agencies
as an Art Director but after ten years it was time for a
change; this change was to directing full time.
He was nominated at both the BBC Short Film
Festival and Cannes for his film ‘GOD’ and thereafter
he shot a series of test commercials culminating in commercials
for Equal Opportunities and Weetabix for Lowe’s. In
2001, Chris was invited by Trevor Beattie to be on the jury
for the British Television Advertising Awards and after
a year or so, set up his own production company ‘Aurora’
to develop commercials and film projects. A feature is currently
being discussed with Channel 4 and for the past year Chris
has been working extensively in Asia shooting commercials
for Lowe Lintas and JWT Amsterdam.
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Directors
Comment
The script called for several good looking giants
walking through the streets of Lisbon. The plate shots was
to be shot over two days, with the final studio day in London.
Although the fixers in Portugal had done a great job, when
the day came the lighting had changed, so chris had to rethink
the look. He opted for shooting into the sun to add drama
and a whole different style.
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"This
meant that most of the locations had to change leaving the
only option of shooting guerrilla style which was exciting
yet nerve racking. The post guys from Absolute co-ordinated
our 50/50 overlays for the CGI but halfway through matching
the plate shots the studio flooded! Coping with bad weather
is par to the course but not usually INSIDE the studio.
The
technical aspects were extremely tricky and I love effects
but only when they are subtle and treated with care. The
crew had to constantly think about scale, movement, film
speed etc. and our plate shots were so good, the pressure
was on to match everything with the live action. The difficulty
was in creating the right backgrounds for our giants to
look natural; the last thing wanted was it looking like
'The Attack of the 50 ft Woman'." Chris Beckles
*Click here to view the full Showreel |
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Directors comment:
"This commercial ran as a generic promotional
piece on flights and conferences worldwide for the Indian
Tourism Board. Its aim was to promote a view of India that
travelers and holiday makers would find both surprising
and intoxicating i.e. not just the Taj Mahal. The client
wanted to really focus on the flag throughout and weave
the narrative around it.
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The
actors were all street cast locals cast just a few days
before each location shoot. The weather was very unpredictable
with dust storms and flash floods but with a huge and experienced
'Bollywood' film crew to hand, there was always someone
who knew how to swiftly get things moving again. This was
by far the most challenging shoot I've ever worked on. The
crew was amazing; no shot was too big or too difficult and
without their positive attitude, many of the dream shots
I'd envisaged would have fallen by the wayside. This is
really their film. Chris Beckles.
*Click
here to view the
full Showreel
NB:
This month's Case Study
shows work directed by Chris prior to his association with
Commercials Unlimited. We hope that before very long this
extremely satisfactory alliance will produce work that we
can equally be proud of!
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| March 2005 - £200,000 - £250,000 |
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This
commercial was for a campaign to promote Toyota’s own Formula One Team web
site for fans of the team.
It ran at on Eurosport. The shoot took place over a week
at the Paul Rickard Circuit in southern France, the test track home of Toyota’s racing team.
The
footage for this spot was shot as part of a much bigger
project to supply racing footage and promotional films of
the seasons new cars and drivers
for both Toyota an | | |