PRODUCTION SHOWCASE 2013
Unit V, Ground Floor, The Gallery Building, Amorsolo St., Legaspi Village, Makati City, Philippines Tel: (632) 8441091 Fax: (632) 8938051, (632) 8925575 www.hitproductions.net
Editor’s Note
SMILE FOR THE CAMERA From the first time moving pictures were projected to flickering life for a captivated audience over a hundred years ago, film craft and its associated industries have captured the world’s collective imagination in a manner unseen until the advent of the Internet. As was the case with the introduction of TV a half century earlier, the proliferation of Internet use did not usher in the end of film craft, but rather, added a state-of-the-art avenue by which filmmakers had the potential to capture the attention of an audience larger than anyone ever imagined.
This Production Showcase is adobo’s guide to the best our local industry has to offer, with profiles of major production, post-production and sound production houses, complete with information on their major developments, practitioners and significant projects. Also included are exclusive features, commentary and interviews, all written in adobo’s inimitable style. So sit back and enjoy, as adobo pulls back the curtain on an industry that plays an indispensible part in keeping us all informed, appraised and, most importantly, entertained.
adobo TEAM President & Editor-in-Chief
Vice-President & Chief Operating Officer
Consultant Editor
Sales & Marketing Head
Managing Editor
Account Manager
Angel V. Guerrero
Sharon Desker Shaw
Mikhail Lecaros
Janelle Barretto Squires
Apple Esplana-Manansala
Jona Loren Atienza
ADOBO MAGAZINE
Creative Director
Cover design and layout
Unit 203, Bldg. 1, OPVI Center, 2295 Pasong Tamo Extension, Makati City 1231, Philippines
Multimedia Artist
On Media Team
T: +632 845 0218 +632 886 5351 F: +632 845 0217
Victor Garcia
Ricardo Malit
Victor Garcia / Kyleen Sayas
Armand Sazon / Tippi Sy
Contributors Tony Hertz, Karlos de Mesa, Tay Guan Hin, Joaquin Pedro Valdes
adobo magazine PRODUCTION SHOWCASE 2013 is published by Sanserif, Inc. © 2013 Sanserif, Inc. All rights reserved. No part of this publication may be reproduced or transmitted by any means without prior permission of the publisher. While every effort has been made to ensure the accuracy of the information in this publication, the publisher and the editor assume no responsibility for errors of omissions or any circumstance of reliance of information in this publication. The opinions expressed in this publication do not necessarily represent the views of the publisher and the editor. Advertisements are the sole responsibility of the advertisers.
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Contents FEATURES 04
Analog to Digital
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The Art of Aural
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Saatchi & Saatchi’s New Director Showcase
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Mr. Matti Goes to Cannes
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The Pearly Gates of Hell
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World Class
PRODUCTION 07
Bullet Manila
09 ED/Outpost 10 Filmex OBC FullHouse Asia Production Studios, Inc. 11
GiantSponge Digital, Inc.
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Gung Ho Films Manila
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Invasion Films
22 OnMedia 28
Revolver Studios, Inc.
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Straight Shooters Media, Inc.
33 Unitel 26
WYD Productions, Inc.
POST-PRODUCTION 37 PostManila 27
Underground Logic
35 Welovepost
SOUND 03
Hit Productions
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Soundesign Manila
SUPPLIER 33
Engine Room
adobo magazine PRODUCTION SHOWCASE 2013
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Hit Productions, Inc. 01. Agency of the Year Awards 02. Tony Hertz radio seminar at the Events Hall 03. Studio H live room 04. The 7.1 surround cinema mix room 05. Media Suite video and audio post with Underground Logic
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Hit Productions is the Philippines’ leading sound and music facility for advertising. We are a talented and workaholic team of composers, audio engineers, producers and voice casters. To help bring your soundtracks to life, we have ten fully loaded Pro Tools HD studios and eight MIDI composing suites, as well as a 120 sq m live band recording studio. Hit also has a 7.1 surround mix room for film and cinema advertising, a spacious Events Hall for your seminars, industry parties and concerts, and even an on-site Media Suite in collaboration with post house Underground Logic for simultaneous video and audio post-production. In the past two decades, Hit Productions has created effective and award winning audio for clients such as Nestle, Unilever, P&G, Pepsi, Kraft, Coca-Cola and many more. Aside from its work in the Philippines, Hit has also worked with ad
agencies across Asia and as far around the globe as Costa Rica and Toronto. These collaborations have resulted in numerous industry awards, including two Golds, a Silver and two Bronze Lions from Cannes, a Gold for Original Music at the London International Awards, and a Bronze Clio Award for Radio. Hit Productions is a twelve-time recipient of the Audio Production House of the Year at the 4As AOY as well as a backto-back winner of the Araw Advertising Production House trophy from the Philippine Ad Congress. We look forward to working with you on your next soundtrack!
HIT PRODUCTIONS Unit V The Gallery Bldg. Amorsolo St., Legaspi Village, Makati, MM Philippines 1229
T: +632 8441091 F: +632 893 8051 www.hitproductions.net
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ANALOG TO DIGITAL The Times, they are ‘a changin. Wo r d s M i k h a i l Le c a r o s
They call it progress.
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As much as digital has quickly become the go-to standard for shooting productions in as quick and efficient a manner as possible, there are still those who need convincing. Of course, this isn’t entirely surprising; if music can have diehards who prefer records to digital downloads or cd’s, so too can analog filmmaking. Steven Spielberg and Chris Nolan are two such diehards, but even the former’s regular cinematographer Wally Pfister admitted that it was only a matter of time before they’d have no choice but to make the switch, hardly surprising when one considers that a best cinematography Oscar has already been handed out to a film shot on digital cameras (Slumdog Millionaire). While film has yet to attain the hipsteriffic status of vinyl, for many, the argument of which filmmaking format is superior is less a matter of discipline, technique and/or nostalgia than it is one of practicality; even if one takes financial concerns out of the equation – working with film can be prohibitively expensive – the time saved and the affordability of the equipment needed tend to take analog out of the running almost immediately. For every “purist” who swears by film, citing texture and color fidelity, there’s liable to be a digital supporter citing the exact same reasons for his choice. Even in Hollywood, where budgets rival the GDP’s of most developing countries, arguments rage between those decrying the death of their “craft” and those raised on a culture of “instant” everything. Locally, the discussion moved beyond production houses and studios when it was recently announced that this December’s annual Metro Manila Film Festival would be presented entirely in the digital format, as opposed to the celluloid reels of years past. To aid in the transition, the Multimedia Entertainment Arts Foundation (MEA) held a three-day “Movie Production for Digital Migration” workshop at SM North EDSA where a panel of local and international digital workflow experts shared insights and techniques.
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That the workshop was necessary only served to illustrate just how drastically the craft of filmmaking has changed in the last ten years, and, in many ways, how great the divide is between those trained in the old techniques and those weaned on the new. Even diehards will readily admit the challenge in promoting their preference; indeed, one of the biggest challenges – some would say THE challenge – is that, in the end, the decision to embrace new technology may be taken out of their hands entirely, as virtually every major manufacturer of film and its assorted paraphernalia has either drastically cut down on their output, or ceased production completely. This is, after all, an age where Kodak is bankrupt and Fuji has to issue press releases to let people know they still make film, while Panavision, ARRI, and Aaton have all discretely ceased production of film cameras with the intention of focusing on developing digital products (while, curiously, publicly proclaiming unwavering support for analog). With shrinking manufacturer support and an everdwindling supply of celluloid, it would appear that this discussion isn’t one that will be determined by any amount of debate or rhetoric. At the end of the day, who can argue with progress?
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01. Scene from “Slumdog Millionaire” (2008) 02. Director Christopher Nolan
Photo: Mark Chester Ang
03. Internationally renowned director, Raymond Red 04. The Metro Manila Film Festival Committee announced that this December’s festival would be presented entirely in digital format.
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RAYMOND RED WEIGHS IN I n t e r v i ew Ka r l o s d e M e s a
To give perspective on the debate of analog versus digital, adobo had a quick chat with award-winning film and commercial director Raymond Red. Famously pro-film, it was seen as a turning point by many when the internationally renowned Red finally embraced digital.
ADOBO There are many directors who once swore never to go digital that have since relented. Please give us your thoughts on how production, industry practices (especially with TV commercials), and the process of making a moving picture in general have changed because of digital equipment? RED I think there is no argument which is better - film as opposed to digital HD or Ultra HD video, there is no doubt that film or celluloid with light sensitive emulsion is still the best imaging medium. Think of it as having 24 fresh new sensors every
second and with a random pattern of “pixels” or film grain. But then the whole filmmaking process is not just about capturing the image. It now involves a complex process of pre-production and post-production which now almost entirely relies on digital technology. And this is where film then becomes a very impractical medium. Ultimately, the final processed image is exhibited on digital HD TV screens or digital cinema projection, so it makes sense to go digital all the way.
ADOBO Your love for celluloid notwithstanding, you’ve become known as an advocate of digital filmmaking. RED My film, Himpapawid (Manila Skies) shot in 2008, was the first Filipino feature film to use the RedOne digital system. I also was one of the first cinematographers to promote it in the advertising industry and it was amazing to see how fast it took over the production practices of said industry. Through the years I have closely worked with both Fuji and Kodak in promoting their film stocks and I witnessed firsthand how their
business quickly gave in to the advent of digital motion picture capture. ADOBO What changed your mind? RED I personally resisted using the early HD technology and swore by the film format, but I did intently follow the technological developments until I was convinced when the Red camera came out in 2008, a digital motion picture camera that truly shot 24 clean individual still pictures per second just like a film camera (the earlier HD cams, though technically 24p, were still practically based on older video technology). So the transition was quick and easy. After all, digital technology does try to emulate traditional filmmaking processes – even digital non-linear editing software was inspired by traditional and physical film editing. But as we embrace the new imaging and postproduction systems, we will still find ourselves facing the same challenge as before, and that is to simply use the technology for our true purpose. At the end of the day, we will still ask, do we have a relevant and powerful story to tell? Ultimately, all this is just about using the right tools to achieve the goal of telling our stories.
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THE ART OF AURAL Three Masters of Sound Design Speak on their Craft Words Tony H er t z Before we can see, feel, taste or smell, we can hear. In the womb, as early as 12 weeks after conception we can hear the beat of our mother’s heart, then a muffled, bass-y version of her voice. When we’re born, it takes months for us to see with any accuracy, but our ears are already fully active. And for the rest of our lives our hearing is, in every way, far more sensitive, and more linked to our emotions than our sight.
RANDY THOM Randy Thom is director of sound design at Skywalker Sound. He has 2 Oscars and 12 nominations for sound. The following is an extract from an article he wrote: At any given moment in a film, sound is likely to be doing several of the following things at once:
Given this documented, scientific knowledge, don’t you wonder, just a bit, why enlightened, creative, consumeroriented advertisers and their agencies give less consideration than they should to the audio aspect of their Brands – TV and Radio spots, Online – and their Brand sound in general – IVR, in-store environments, etc.?
• suggesting a mood, evoking a feeling • setting a pace • startling or soothing • exaggerating or mediating action • defining a character • heightening or diminishing realism
So what I want to talk about in this piece is what’s possible when talented sound specialists are given the means – time, budget, access, and flexibility – to contribute seriously to a production. I’ll quote three people whose work I admire.
• ditto for ambiguity • drawing attention to a detail, or away from it • indicating changes in time • emphasizing a transition for dramatic effect • describing an acoustic space How many of these things do the standard combination of VO+music achieve? The term “Sound Design” was created by Walter Murch and Ben Burtt, both also Oscar winning Hollywood veterans. Burtt created the iconic sounds for the first Star Wars films and most recently for Spielberg’s Lincoln.
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01. Art from George Lucas’ “STAR WARS” (1977) 02. Scenes from George Lucas’ “STAR WARS: The Empire Strikes Back” (1980) 03. Movie Poster of Steven Spielberg’s, “LINCOLN” (2012)
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Bullet Manila
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01. Robbie Dinglasan Creamsilk Umbrella
Heart Evangelista sends umbrellas a-springing to a record-breaking 2 million Youtube hit spot for Cream Silk.
02. John Buche BMW Blitz (director’s reel)
An award winning ad made for projection with Moto Racer Reuben Xaus who leaves an imprint of the BMW logo on your iris.
03. Martin Ar naldo Righteous Penelope
Bullet Manila’s very first film was for the UK market: a sensual and tempting spot for salad dressing that will make you too sexy for your shirt.
04. Jean Bocheux (director’s reel) Guerlain l’Instant Magique
This launch ad features a rather indecently-clad Michelle Buswell ascending a never-ending staircase that goes to who knows where but no one seems to mind.
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Bullet Manila is a creative boutique production house based in the Philippines. Bullet Manila provides a total creative experience from bid stage to post production with directors who have worked extensively across the region and internationally as well. Each film we produce is specifically crafted with a unique blend of talents from around the world. Each film is built with its own production pipeline to meet its specific needs and budget requirements. By keeping a close and dynamic relationship with our clients and agencies, we strive to develop the proper synergies to meet the needs and expectations of today’s complex creative world. Bullet Manila is a sister company of Bullet Bangkok More info on bulletmanila.com
BULLET MANILA Roofdeck, LPL Tower, 112 Legaspi St., Legaspi Village, Makati City T: +63 917 819 0408 +632 954 1697 +632 551 2820 E: info@bullet.com.ph
www.bulletmanila.com
05. Br uno Sauvard (director’s reel) Malaysia Todler
Through the eyes of a toddler, Bruno brings the French touch to Malaysia’s tourism campaign.
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WALTER MURCH
ANDRÉ JACQUEMIN
Walter Murch sound-designed some of Francis Coppola’s greatest films, Apolcalypse Now, Godfather II and – one of my all time favorites, The Conversation. This is what he wrote, which I’ve shortened and paraphrased:
The third quote is from my friend André Jacquemin of Redwood Studios in London, who has recorded almost every radio spot I’ve ever done for 40 years, not to mention all the great Monty Python’s Flying Circus comedy albums. He’s just finished work as sound designer on Terry Gilliam’s new film Zero Theorem starring Christopher Walz and Matt Damon (in which I’m thrilled to have a tiny – but he says meaningful voice part!)
The eyes facing forward and the ears facing sideways are indicative of how we confront visual - as opposed to aural - reality. The visual is more direct and confrontational, like the front door: You look at what’s in front of you, and see it all at once. When somebody knocks, you say, “Who’s there?” and open it. And whatever meeting
This is what André told me last week: “My job as sound designer is to make the picture look better. The goal is for the audience to believe what they see.
occurs will have at least an element of formality and
Sound can really help – or damage a scene; I get
importance, precisely because it’s the front door.
comments from directors about scenes they feel
The ears are at the sides and take in 360 degrees. So while you’re busy answering the front door, sound
they didn’t get quite right in shooting, but that sound design has turned around.”
tends to come in the back door, or even sneak in through the windows. The sound is in the house as much as the front door visual, but you’re not as aware of it.
And what’s
striking is that sound’s emotional power allows you to actually change how you see: You see a different image when it has been emotionally conditioned by the sound.
The last paragraph confirms what I’ve been teaching for years in my radio workshops, which is that the more you allow emotion to drive your sound, the more the listener will “see” emotionally.
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04. Art from Francis Ford Coppola’s “APOCALYPSE NOW” (1979) 05. “The GODFATHER 2” (1974) 06. “THE CONVERSATION” (1974)
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adobo magazine PRODUCTION SHOWCASE 2013
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ED/Outpost
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01. “MAMAY UMENG” Cinema One Originals Film Festival (Philippines), November 2012 Jeonju International Film Festival (South Korea), April 2013 - Best Picture Price International Competition Karlovy Vary International Film Festival (Czech Republic), June 2013 02. Various Corporate AVPs & commercials 03. Behind the scenes of “ISDA” 04. Behind the scenes of Hale:”Bahay Kubo”
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We are your number one believer that your film and video works are an art in motion. You have a story to tell and you want it to be told creatively, expressively and distinctively. To turn your vision into reality, you will need a team that will work with you to fill that screen space with a perfect blend of sound and images to effectively deliver your message. ED/Outpost, a creative fusion of artists and technicians, is a highly capablae production and post-prod outfit with the right talent, skillset, equipment and technology to help you tell the world of your truth. We get your creative intent and share your passion for excellence and commitment to bring to the audience a cinematic experience that they can’t get anywhere else. Our offerings include storyboarding, previs, photography, graphics, animation & special effects, production, postproduction, content delivery, rentals and indent sales of broadcast / IT equipment.
ED/OUTPOST EDIMC Block 137 Sct. Rallos Ext. Sacred Heart, Q. C. T: +63 918 911 3681 E: edoutpost@
gmail.com
05. Interview Shoot for a corporate video
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Everything these brilliant men have said echoes how I feel and how I try to practice my craft. So what can we do in the Philippines to sound better? It’s not so much about technology; our recording software is pretty much international standard, and from what I’ve seen and heard so far, the technicians who operate it know their stuff.
I believe that great sound production, which of course includes radio, needs first of all, attention and commitment at a much earlier stage in the process than at present, by directors, CDs, creative teams and producers. It then needs the means to accomplish the improvement, i.e. time and budget.
Tony H er t z
And above all, great audio needs Sound Thinkers: Designers, Creators, Directors – call them what you want – who have the skills, experience and desire to– as André says –make the picture – be it film or radio – look better.
person ever to win both
is a 40-year veteran of radio, and the only Yellow and Black D&AD Pencils for Radio and the founder of London’s firstever radio production company. After 14 years with McCann-Erickson as a Creative Director
07. Cast of Monty Python’s, “FLYING CIRCUS” (1969)
and experience on three continents, he can currently be found running Hertz:Radio in
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Manila.
SAATCHI & SAATCHI’S
NEW DIRECTOR SHOWCASE Words Tay Guan Hin One of the highlights of the annual Cannes International Festival of Creativity is Saatchi & Saatchi’s New Director’s showcase. Traditionally packed to the rafters in terms of content and turnout, the Showcase is a way for international creatives to get a feel for directorial new blood from around the world. Veteran adman Tay Guan Hin writes on the good, the bad and the just plain weird from this year’s edition. 01
No matter how early I try to get in to watch the Saatchi & Saatchi New Director Showcase, I’m always late. How did the crowd form so early in the morning? I recognize a few faces from the Gutter Bar, just barely a few hours ago. After a long wait, I managed to sit in the Grand Auditorium next to Peter Callaghan, CD from BBH (Luckily he was sober). Before the show began, we shared thoughts on what inspired us so far. Perhaps the best is yet to come. As Cannes celebrated their 60th anniversary, this showcase entered its 23rd season. Every year, Saatchi & Saatchi invite directors from around the world to submit their best work. This year, 19 directors made the cut, selected by the Saatchi & Saatchi Worldwide Creative Board. It’s good to see two directors coming from Asia, namely Japan and Hong Kong. Overall, the showcase contained extraordinary yet bizarre animation; multimedia techniques, eye popping cinematography, erotica, lots of violence and a dose of dark humor. This year’s theme is ‘Just for Hits’. It concentrates on the power of Internet and its influences on contemporary culture. Richard Dawkins, a renowned evolutionary biologist took the stage on the subject of “memes” which he introduced in his 1976 book: The Selfish Gene. He coined the word “meme” which has been hijacked by the Internet.
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01. Jake Fried’s ‘Raw Data’ 02. Gevorg Karensky’s ‘GTA RISE”
He began with a scientific speech on evolution, genetics and memetics, which showed the transmission of ideas & cultural norms evolve like natural selections. Similar to how memes today are creative intentional mutations. Suddenly, the stage backdrop burst into a psychedelic world of weird animation projected on various angled blank canvas. Weird visuals include an owl shooting laser out of its eyes to cut open Richard Dawkin’s head and a chrome dolphin jumping in the air, while a plesiosaur ate it up... etc. I presume it’s an attempt to illustrate his theory connected to a wide range of film genres that the showcase holds.
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Overall, many of them left me feeling very disturbed. Most were quite violent or dark. Ilya Naishuller’s: Biting Elbows-‘Bad MotherF#%*’ showed gangsters on a killing spree, so did Gevorg Karensky’s live action take on the game “GTA RISE”. These films cross boundaries between virtual and real world. Many of them are popular online hits. “GTA RISE” already received 13,308,550 YouTube hits and an interactive film called Masters in France-Flexin by One Pixel Wide matched hash tagged vine films to song lyrics in a live feed. Justin Anderson’s erotic frightening seductive film featuring S&M stalkers for Agent Provocateur made more than my hair stand. Ben Liam Jones directed an emotional tale of a son and his abusive father for the ChildLine counseling service while Nabil’s haunting music video for Antony and the Johnsons’ ‘Cut the World’, showed a secretary slicing her boss (Willem Defoe) neck in half with a knife in his office. In fact, all the other secretaries were doing the same thing to their bosses. Remind me to never piss off my PA ever again. Casper Balslev gave us a highly-stylized film for Danish clothier Hans Kjobenhavn about the group of unlikely personality having a surreal house party. Vellas brought a Leica camera’s soul to life through a beautifully crafted black & white film with astonishing
03. Ohji Inoue’s Keys N Krates - ‘Treat Me Right’ 04. Ben Liam Jones’s “It Follows Me Around”
cinematography, which moved my heart. Ryan Hope’s Alpines-‘Lights’ emotional film juxtaposed a woman’s walk through a warehouse while thinking about her boyfriend at war. Peter Atencio, whose slapstick film ‘Pulled Over’, turned a small traffic incident into a major catastrophic chain effect with ridiculous consequences. Max Joseph got the audience laughing in his humorous story of a man’s guilt for ‘Rainforest Alliance’. Joe Pease used skateboard moves into poetic shadow art, while Miles Jay brought two couples together in an end of the world fire destruction in his music video for White Doves. Canadian director Ohji Inoue created 3D to Boon and Mills romance novel art in his music video for Keys and Krates’ “Treat Me Right”. Daito Manabe of Japan’s Rhizomatiks combined projection mapping with dance in an out of the world clip for Nosaj Thing’s ‘Eclipse/Blue’. Ian Cheng brought a raw-looking computer graphics of a hunter with his dog hunting a rabbit man in Liars-‘Brats’, while Jake Fried’s complex but stunning chalkboard-style art illustrate information overload in ‘Raw Data’. ... continued on p.16
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GUNG HO Films Manila 01. Samsung “Inspire” TVC 02. AKTV “Versus” with Arwind Santos 03. CloseUp “Summer Solstice” with Enrique Gil and Colleen Garcia 04. TM “Henyo” with Parokya ni Edgar 05. Belo Essentials “DIVA” with Tony Gonzaga
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GUNG HO 306 GC Corporate Plaza, Legaspi Street, Legazpi Village, 1200 Makati city, Philippines T: +632 478 7583 to 84 www.gunghofilmsmanila.ph
Arlene Sulit-Manalo (Executive Producer) T: +63 917 589 5286
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GUNG HO Films Manila is a multi-media content creation and production company in manila that provides efficient and creative production services for high-quality video content such as tv commercials, documentaries, webisodes, short films, and full-length films. We are a vibrant team packed with some of the most seasoned directors as well as fresh filmmakers, supported by carefully chosen production teams. We love what we do and we’re all good at our chosen fields. While our target is to always deliver excellently made content, we also believe that great work isn’t just about the end product, but how you get there. That’s why from process to creative output – we’re committed to doing it best. Complete and excellent production value for money: that’s the Gung Ho promise. We’ll make life easier for you so you can focus on the bigger picture and remember why you love what you do.
But it doesn’t end there! We are driven by one grand vision, a big picture - We believe that the Philippines has all the capability to be at par with global standards. From creative talent to ideal shooting locations to the proper technology — look no further — Manila’s got it all and we’re GUNG HO to prove it! Why Gung ho? ”Gung ho” is an English slang term used to mean “enthusiastic” and “dedicated” - the kind of working spirit where all the members of a team dedicate themselves to one vision and work together to achieve great things. The Chinese characters that represent g ng hé” ( ) means “Work Together-in Harmony”. With our directorial team, Cholo Laurel, Dax Dacayan, Joaquin Valdes and Marie Jamora, GFHM looks forward to working with you on your next spot. GHFM is a member of the SANO Holdings Group.
adobo magazine PRODUCTION SHOWCASE 2013
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Invasion Films
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01. Team Invasion Films 02. Invasion Films Lounge 03. Invasion Films Production Area 04. Director Mikko Avelino 05. Director Nui Cortes
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Late 2012, an influential team of production experts came together to produce an integrated production solution. Years of accumulated advertising experience gave them the edge to come up with a one-stop shop for all your production needs. Invasion Films was born out of a passion to deliver not just a product of exceptional value, but equally, to enrich the experience of the entire production process. Part of the SANO Holdings group, which proudly has a comprehensive and cutting-edge arsenal at its disposal, from an audio/video postproduction facility (Fluidpost), to what is touted to be Manila’s largest and most advanced shooting studios (One Manila Group Studios), Invasion Films promises a custom fit solution by handling each project uniquely and providing the necessary components to produce the best for all its clients. Fronted by award-winning directors Mikko Avelino and Nui Cortes, Invasion Films offers a versatile and diverse talent pool capable of any production requirement under the management of industry professionals, Dondon Reyes (Production Head) and Ms. Ching Aves (Managing Director). Invasion Films. Armed and ready to shoot.
INVASION FILMS T: +632 625 5850 +632 625 0836 E: inquiry@ invasionfilms.ph facebook.com/ invasionfilmsph Chi Ong (Executive Producer)
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One film that is still stuck in my head came from HK director Wong Ping, called ‘No one remains a virgin’. A cute animation to tell a political story showing four fat men, a one-eyed monster that ejaculates and a rocket penis deflowering another monster that’s a virgin. I walked out feeling weird in a good way. Their experimental and edgy films inspired me to push the boundaries of my comfort zone. It explored taboos and trends that are not culturally the norm but tackled them in such an artistic way that fascinates us. I’m getting ready for next year’s showcase and plan to bring my sleeping bag to beat the crowd. Either that or walk together with the rest of other drinking zombies after an allnighter at the Gutter Bar.
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05. Casper Balslev’s ‘Hans Kjobenhavn’ 06. Vellas’ Leica - ‘SOUL’ 07. Ryan Hope’s Alpines - ‘Lights’ 08. Daito Manabe’s Nosaj Thing - ‘Eclipse/ Blue’ 09. Miles Jay’s ‘White Doves’
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Tay Guan Hin is JWT’s Southeast Asia ECD and Global Lux ECD. A multi-awarded creative, Tay has been on numerous juries at various international advertising awards shows.
adobo magazine PRODUCTION SHOWCASE 2013
MR. MATTI GOES TO CANNES Words Mik hail Lec aros Erik Matti didn’t plan to go to Cannes – the way he tells it, it just happened that way. Fresh off the critical success of his film, On the Job, at the 66th Cannes Film Festival, adobo caught up with Matti at Revolver Studios at the Fort to chat about filmmaking, advertising and lessons learned along the way.
ADOBO How does your advertising side influence your filmmaking? MATTI Advertising taught me to be clear about what I want. You have directors – I won’t mention who – who will go on an ocular and, halfway through, they’ll want to go back to the hotel at 10am because he didn’t like the first location, but you tell him you have more. Now, especially when you’re staff or whatever, no one can make demands of the director – whatever he wants, you wait. So we wait, we have lunch, then around 2pm, someone has the idea to knock on his door. Then you try again at 4pm, and when he finally opens the door, he’s all, “What?! There’s another location? I told you I didn’t like what I saw, I was going to sleep already!” (laughs) Then there are those who would go to the set without even asking to see the location! What advertising taught me is, you pre-plan everything, you study everything. This puts you in the right perspective with the story you want to tell, even the kind of design! Back in the day, even if you got a designer, you’d never know what they were doing until you got to the set and actually saw it! They didn’t make presentations on how sets would look or whatever, and advertising helped put that into perspective: What will your characters
look like, etc. In fact, it’s because of advertising that people like stylists were brought onto films. Of course, I don’t really agree with how stylists are paid, but it’s a step up from how things used to be done. Before, whatever the actor brought from their closet to the set to wear, that was it! And not every character an actor plays will dress the way they do in private life! I also learned about taste; what you really don’t want to be stuck in is TV, because that ruins your taste and the aesthetics of your film language. But it’s not really your fault because of the time constraints (in TV) and the useless stories you have to make – you’re compromised! I’ve seen directors go off to do TV for three months, and when they come back, their cinematic language is gone – it’s for TV. One thing that advertising taught me, and I think it’s universal, is that you can play around with form, content and style, camera, use of lighting, and you don’t have that luxury in film. But when you move into film from advertising, you can bring those sensibilities and aesthetics to your filmmaking, and it’s always refreshing to see a new way of attacking a narrative, as opposed to everything looking the same. Coming from advertising, you learn to be very precise about what you want.
adobo magazine PRODUCTION SHOWCASE 2013
“Coming from advertising, you learn to be very precise about what you want.”
ADOBO So how did On the Job come about?
MATTI I actually made a trailer four years ago; it was nine minutes long, with some dialogue and some action. None of the actors were there except Joel Torre – he was there from the beginning. I attached it to one of my films that went to a few festivals and it caught the attention of Twitch Film’s Todd Brown. I told him I’d always had the story in mind, that it was something I’d always wanted to do, but I didn’t have a producer, and he said he could help me find one as he’d just joined XYZ Films. Well, we weren’t able to find one. The answer was always the same: “It’s a nice script, we love it, but we’ve never seen anything from the Philippines that looks like this. If this was a Hong Kong movie with cops and robbers, we’d be ok, but the Philippines?” (shakes head) So they (foreign investors) were scared to take the risk, so I sent it around the local studios and stars that I wanted to work with. Piolo immediately jumped on board, but not one of the major producers accepted. All of us wanted to do it, and we eventually found a producer in Leonardo ‘Leo’ Po of Century Tuna. Apparently, he always wanted to do a movie, and when we sat down with him, he got so excited, thinking it would be a quick thing, and after a few months, he said, “I’m itching to produce something.” So Dondon (Monteverde) and I showed him the trailer I’d done, and he asked for the script. We did that night, and the next day, he told us he’d read it three times! Photo: Revolver Studios, Inc.
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We planned to produce it on a small budget, but then Tiktik got other producers excited again. So when they asked me what projects I had lined up, Star Cinema remembered On the Job and asked about it. I told them it was still there, but we were no longer thinking of Piolo Pascual because we only had a limited budget – we’d let the idea go and were opting to get actors who cost less. But then Star asked to see the script again. I sent it to them and, three days later, they called to say, “We want to do this.”
“The Cannes thing cannot assure you of success with a major studio here, most of them think films from Cannes are weird!”
When we sat down to talk, I laid everything on the table and said that we were already talking to an international company on the project, so there might be some glitches in terms of international deals, and they said it was ok, that they wanted to be a part of it. Then casting came in; we got Gerald Anderson and tried for Piolo again. Joel (Torre) was a non-negotiable, and I brought in Joey Marquez – it’s a dream cast! Michael de Mesa, Angel Aquino, Leo Martinez… Rosanna Roces for one scene! ADOBO Funny how things turned out, sounds almost as though you planned it! MATTI I’m the kind of person who always looks to the lower motivation (laughs). I just wanted to do the movie. I’m not the kind of director who says, as I’m doing the movie, “This is Cannes material!” I’ve heard a lot of directors who aren’t even done shooting their movies who say, “Oh, I’m going to Cannes!” Of course, our partners and producers thought it could go the Cannes route, but looking at the entries that make it to Cannes, I would say ours is a lot more accessible, compared to the abstract, experimental stuff that’s out there. We just wanted to make an action movie – not in the Jason Statham or
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adobo magazine PRODUCTION SHOWCASE 2013
Bruce Willis kind of way – but the kind of thriller that I’m a big fan of, where you have a lot more layers and drama to the characters. ADOBO How exactly did you get in? MATTI We were just lucky that, right before Cannes, there was Berlin, and I made a trailer for selling – not for the festival – with rough footage and peg music, and we got the attention of a French distributor, Wild Side, which is affiliated with Wild Bunch, a director-driven distribution company. Most distributors follow production companies, but this one is one of the few that follows directors. Wild Side follows Park Chan Wook, Nicolas Winding Refn, Ben Wheatley, Woody Allen… ADOBO You’re in good company then? MATTI Yes, yes (laughs)! So they saw the trailer and they pre-bought it before seeing an actual movie and they said to me, “This had better be good, because we’re thinking of submitting this to Cannes.” Of course, it’s hard to know exactly what Cannes will choose, and being from a Third World country, we don’t want our movie relegated to “poverty porn” status because it isn’t. Most of the Filipino films that the world sees get attention from Festivals because of the way the country looks, the kind of grit that we have. So we rushed a cut, sent it to Wild Side, and they said, “Yes, we’re submitting this to Cannes.” In less than two weeks, we got the invitation from Cannes. I received it at three am – they only notify the directors – and the bad thing is, when I got it, I had no one to talk to (laughs)! I dialed Dondon (Monteverde), I called everybody, and they were all asleep! So now, flash forward to Cannes. Our French distributor told us our film looked like it had legs and that it would work in a lot of territories. They
told us we needed an international rep going in. It turned out they were right – it was crazy! As soon as the lineup for the Festival was announced, we were getting so many emails and they all wanted to buy the film before they’d even seen it – they were going with the hype. ADOBO What are the lessons you took away from this experience? MATTI Not to sound Messianic or whatever, but one of the lessons I got from OTJ after its sale to the US, its sale in Australia, the remake rights, having a major studio distribute it in Manila, I’m hoping it becomes a lesson to the indie filmmakers that it’s not onesided if you just think clearly. I’m not going to say that the movie I made is a compromised movie – never. I never rewrote anything to pander to an actor’s demands, wala! If you watch the movie, there are four lead characters. It’s not a Piolo vehicle, it’s not a Gerald movie, and I hope they (other directors) can see the ‘indie’ (in the film) without being stubborn about it, about themselves, about their artistic integrity. I want them to realize that heavy, darker themed stories, serious topics can be made into a commercial film. The Cannes thing cannot assure you of success with a major studio here, most of them think films from Cannes are weird! What really brought the bacon to the industry is the sale in America, that someone was interested to redo the film. Now, the things, the stories I thought I would never be able to do, way back in 1996 – even before I became a director – now there’s a chance for me to do them, and get them released by a major studio! I’m not talking about having my film screened in CCP twice and then once in UP – now we can be ambitious! My next lineup of films
is even more ambitious in terms of themes and characters, and I already have producers for them. ADOBO Is this indicative of local studios having more confidence to take chances aside from the usual formulas and blockbusters? MATTI It’s possible, but it’s very difficult. Only if you can balance it, if you can do that, and it makes money, then everyone’s happy! And then you can make another movie. Look, On the Job isn’t a walk in the park; the characters are dark, the plotlines are bleak, but it’s engaging – parang masama pakinggan pag galing sa akin (laughs). I think this will do well because this isn’t your usual Cannes film, it’s not slow – I don’t have a shot where it’s five minutes of just a character walking. Also, it’s intense, but it’s a film I want people to see more than once – there are some films I love that I couldn’t bring myself to watch again!
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The most important lesson I learned here is that, if you have a good concept, the powers-that-be will listen. Star Cinema didn’t change anything, and I will tell anyone, any time how supportive they were. I didn’t change things to suit any stars’ demands or anything like that. But that’s because I knew from the start what kind of film I was going to make.
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You should only submit a script when you’re happy with it. If you do it in bits and pieces or as a sequence treatment, it leaves your story open to comments. (mimics voice of a high-pitched studio official) “Can you add a sad moment here?” I learned here to have a solid script in the beginning – you have to be confident. Pangit naman kung confident ka, pero basura yung sinulat mo.
02. Erik Matti at Cannes La Croisette with Gerald Anderson, Piolo Pascual, and Dondon Monteverde among others.
01. Erik Matti’s Tiktik: The Aswang Chronicles
03. On The Job with Gerald Anderson and Mark Andaya 04. Erik Matti with the cast of Tiktik
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OnMedia
OnMedia
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ONMEDIA Unit 524, 5th Floor Elizabeth Hall Bldg., Katipunan Avenue, Quezon City T: +632 929 7356 E: info@onmedia.ph
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Onmedia is a Manila-based team of professionals dedicated to the craft of producing effective video content for clients who are in need of improving their digital marketing presence. The continued rise of the digital lifestyle presents an opportunity for you to reach an ever-growing and constantlyconnected audience. Our expertise is in telling stories. And whatever your story, our versatile team of creatives has the experience and ability to deliver what you need. We believe that we have a story to tell, and we can help tell yours.
www.onmedia.ph
01. OnMedia Team 02. OnMedia calls DIYWO (or Do It Yourself With Others) Coworking Space it’s headquarters 03. Daktarin Oral Gel “MUMOG” TVC, directed by Aaron Palabyab 04. “DRIVE FOR FIVE”, a fifty minute documentary of the Ateneo de Manila University’s Men’s Basketball Team’s 5 straight UAAP championships 05. Fully Abled Nation AVP
adobo magazine PRODUCTION SHOWCASE 2013
THE PEARLY GATES OF HELL Words Joaquin Pedro Valdes Much can be said about the global cinematic perception of Manila. While most of us plebeians who actually live in this city often despise it for the discomfort and toll on our regular lives, there is still that pretense of progress, energy, beauty and diversity that we choose to maintain. We’re choosy about how the rest of the world sees our city and for that matter, our country. We are partial to perceptions that champion our beauty, hospitality, and exoticism. Entertainment columnist Ricky Lo comes to mind, relentlessly trying to get pro-Philippines sound bites in almost all of his international interviews. As much as we like to bitch about the corruption, poverty, bad governance and digression of our city, we don’t want the White Man to agree with us. In fact, anything that the White Man says about the Philippines, we gobble it up like rice – for as long as it is good. It is a pretense that triggers our outrage and nationalism when Dan Brown describes our city as the “gates of Hell” in his latest conspiracy thriller. It is the same pretense that charms us when we see Jeremy Renner in a high-speed motorcycle chase along EDSA in Tony Gilroy’s The Bourne Legacy. It’s the same pretense that charges us 400Php just to watch monsters attack our city in the big IMAX 3D blockbuster, Pacific Rim. While we live in a very real, dirty, and bleak Manila, we choose to suspend our disbelief. Manila hasn’t always been so hard to love though, which is probably why we deny it’s current state so strongly. Manila was the muse of pre-war cinema reels, highlighting the progress, beauty and comfort that came with American colonization. Wide streets, a bustling Manila Bay, Luneta Park, wide avenues that were populated by fashionable Indios, Americans, Chinese and Europeans; a National Post Office, a National Library, a National Museum and a National Theater, all championing Manila championing America. The next time Manila would be in the cinematic spotlight was with the rise of what is arguably called the Second Golden Age of Philippine Cinema. With Ishmael Bernal, Lino Brocka and Mike De Leon literally and poetically showing the darker underbelly of the city, Manila gained the interest of the international audience once again, winning awards in Europe and America for a grit and truth that probably weren’t so readily acceptable (to Filipinos) back then.
01. “NOT GIVING IN” Music Video for the British electronic quartet Rudimental, directed by Josh Cole.
Fast forward to the digital age, where cinéma vérité took a new format: Video. Manila once again became the backdrop to stories of poverty, scandal, death and exploitation. The rise of independent filmmakers and the more economic video format now allowed for an alternative cinematic voice – a critical one and an honest one. Taking a handy video camera, which can now provide high-definition picture quality, a regular Juan bereft of film school disciplines can follow around an interesting character in Quiapo for a couple of hours a day and win himself prestigious international film awards. A new screenwriting genre was born: the found story. Not only did this type of filmmaking break ground in filmic storytelling, it opened a floodgate for Filipino Filmmakers to penetrate the international film scene. This saturation also brought forth the rise of “poverty porn”, an informal description of films that capitalized on the visual value of Manila’s setting rather than the strength of well-written stories or characters. Enter Josh Cole.
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02. Ms. Vilma Santos on the set of “SISTER STELLA L” (1984) directed by Mike de Leon 03. Scenes from the film, “PACIFIC RIM” (2013)
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Recently winning the audience vote for the Young Director Award at the Cannes International Festival of Creativity, Cole brings to light a new discussion of the global cinematic perception of our beloved city. His winning entry, a music video entitled “Not Giving In” for the British electronic quartet Rudimental, was shot entirely in Manila.
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Shot on high-definition digital video, the video follows the story of two young brothers who appear to live in the slums of Manila. While it doesn’t exactly show or say where in Manila, it is assumed that the viewers will understand the environment clearly and undoubtedly. A hauntingly panoramic view of run-down shanties and corrugated metal roofs populate the first few scenes of the video before we’re brought into a small living space where our story starts. Josh Cole uses the music of Rudimental as a soundtrack to the tragedy he skillfully lays out for us. The brothers inevitably take different paths as a means to survive the poverty and depression they were born into. One joins a group that trades drugs by the packet, the other joins a breakdancing crew. As fate would have it, one dies in a violent gang fight, the other incurs a new life as a breakdancer. Cole makes mention of his constant fascination with the Hip Hop culture in Third World countries as well as dance, inspiring him to champion this subject in the video. He also clarifies that the story is universal and could have been set anywhere, but in this case it was set in Manila; which makes all the difference. This is also probably why he won the prize. While it would be easy to classify his filmic approach as “poverty porn”, there exists a tenderness and care in his portrayal of the slums. Respect for film language and deliberate cinematography make the sordid and gloomy images of Manila more bearable and, perhaps improbably, rather beautiful. The quiet, yet courageous images showed not a new Manila, but a new way of perceiving the gloom while simultaneously acknowledging the slivers of light that manage to shine through.
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adobo magazine PRODUCTION SHOWCASE 2013
With this work, Cole took what could have easily come across as an overly worn tale and, utilizing a new set of filmic words involving innovative aerial shots only possible with a digital camera, redressed it in finery that demands your attention. The intercutting of hi-speed running sequences with hi-speed dance sequences make the material less documentary and more MTV. Clinical, under-saturated green filters the entire palette, making it look less like a news item, and more like a painting. The story is told with intent and subtlety absolutely bereft of cynicism and scorn. Cole gives us a chance to see the beauty despite the poverty, the life despite the death. Setting his story in Manila – which he claims could have been set anywhere in the World – adds just that much profundity and weight to the piece. He found a parallel against which to juxtapose his story of hope.
JOAQ U I N VALD ES
The Global perception of Manila is ever changing. It may never go back to being the beacon of economic progress and development it once was, but that doesn’t, shouldn’t suspend our city’s beauty – much less our belief in it. Let’s look at Manila through the lens of Josh Cole, and maybe, just maybe, we can rid ourselves of the pretense.
theater and films to his
is a commercial director from Gung Ho Films Manila and an all-around talent with television, name, including the multiawarded short film Bulong and Dagim for Cinema One Originals.
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Underground Logic
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01. The Underground Logic Management Committee 02. The Underground Logic Team 03. Francis M. “Kaleidoscope World” feat. Elmo Services: full production, offline, online, matte painting, character replacement, 3D tracking and rotoscoping, color grading 04. Resorts World “Energy” 60s Services: art direction, shoot supervision, online finishing, rotoscoping, 3D compositing, 3D animation, atmospheric and particle effects, 3D camera tracking 05. The Underground Logic-Hit Productions collaboration
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We’re only as good as the clients we work with. With three consecutive Post Production House of the Year Awards given by the 4As (Association of Accredited Advertising Agencies of the Philippines) , Underground Logic takes pride in servicing the Philippine Advertising Industry for the past 14 years. Aside from local clients, UGL also has regular clients from the Asian region and North America. As a full service post production house, UGL provides offline editorial, color grading, animation, visual effects and online finishing. UGL’s Directorial, Art Directorial and on-set supervision team also assures clients that we are partners in their projects, from concept to release. UGL’s value for quality output, hard work, and teamwork allows it to be efficient in both PRICING and PERFORMANCE, yet flexible enough to customize different workflows to a project’s requirements. It is UGL’s mission to deliver high quality output in line with the vision of the client while providing a warm and fun working atmosphere. FAST. FLEXIBLE. DEPENDABLE. CREATIVE.
UNDERGROUND LOGIC Ground Floor Electra House 115-117 Esteban St. Legaspi Village, Makati City. 1229 T: +632 893 6327 F: +632 810 8262 E: ugl@ undergroundlogic.com www.undergroundlogic.com Adrian Tecson (Managing Director) T: +63 917 525 5515 E: aids@ undergroundlogic.com Paolo Morato (Head of Sales & Marketing)
T: +63 917 816 6050 E: paolo_morato@ undergroundlogic.com
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ADV ER TORIAL
ER V L O V E R C. N I S O I ST UD
In the cutthroat world of film and advertising production, Revolver Studios, Inc. has distinguished itself by choosing to go completely against the grain in how its directors approach their projects, to great success. The secret, says Revolver Studios President and CEO AF Benaza, lies not just in the highly diverse set of personalities and skill sets they possess, but in the spirit of genuine camaraderie that seperates them from the competition, a fact that newly-appointed general manager Luis Morelos concurs with. Morelos credits the lack of inhouse rivalry to the collaborative
culture established early on by Revolver Studios founders Benaza, Erik Matti and Dondon Monteverde. While every director brings something different to the table in terms of personality and area of expertise, the lack of egotism on display is refreshing, making for a quality of work that is as impressive as it is varied. It is an approach that has worked out beautifully, with Revolver regularly winning high profile clients and attracting top-tier talent from different parts of the world to practice their craft in the Philippines. Whether it’s the award-winning
director-cinematographer tandem behind Australian hit The Tunnel Carlo Ledesma and Fung Cheung or Hollywood veteran Edber Mamisao or even the fresh-from-Cannes Erik Matti himself, everyone at Revolver is united in their direction to create some of the best work anyone’s ever seen. When it comes right down to it, Revolver Studios hasn’t just been going against the grain since first setting up shop five years ago, they’ve been setting the standard by which others are judged, and that’s just the way they like it.
ERIK MATTI As one of the busiest directors in Philippine advertising, one wonders where Erik Matti finds the time to breathe, much less write and direct blockbusters films, with complex, often conflicted characters. His latest effort, On the Job, recently represented the Philippines at the 66th Cannes Film Festival, while his Tiktik Chronicles set box office records last year.
AF BENAZA With 14 years of directing under his belt, AF Benaza is the self-proclaimed upperclassman of the group. Despite being one of the most-sought after directors in the industry, the co-founder of Revolver Studios is happy to share the benefits of his experience with his younger colleagues while, at the same time, continuing to add to his more-than-impressive body of work.
NOEL MANACSA Adman turned director Noel Manacsa entered production when agency clients noticed his talent for directing in-house videos and presentations to the point that they began trusting him with actual TVC’s. Manacsa’s ability to handle client expectations is matched only by his ability to elevate food TVC’s to a level approaching high art, a talent that has gained him a loyal client base here and in Jakarta, where he has regular projects.
CARLO LEDESMA As someone who says they always knew they would be a director someday, awardwinning filmmaker Carlo Ledesma’s enthusiasm for his craft is infectious. Shortly after establishing himself as a top commercial and music video director in his adopted Australia, Ledesma shot to the top of many a must-watch list following his Best Short Film win at Cannes, a reputation he solidified with surprise horror hit The Tunnel.
BORGY TORRE The youngest of the group, Torre started his career as an indie filmmaker before apprenticing under Erik Matti and eventually graduating to his own director’s chair. A trained filmmaker and editor, Torre knows how to utilize the cinematic potential of a project, to maximum narrative effect, as best suited to the client at hand. On the side, Torre continues to indulge his passion, developing and shooting short films.
EDBER MAMISAO With a passion and verve that inform every project he works on, Mamisao is a perfect fit for the Revolver family. After experiencing working nearly every job there is behind the camera over seven years in Los Angeles, Mamisao realized his true calling was to be a directoer, and now regularly combines boundless energy with a visual style inspired by classic cinema in his commercial endeavors.
JOEL BOHOL Joel Bohol’s eye for creating stunning visuals was honed over years spent creating animation and effects as a fully qualified CGI animator and special effects wizard before AF Benaza convinced him to try his hand at directing. A rock star at heart, Bohol never dreamed he would end up directing TVC’s for some of the country’s biggest brands, but as he and his clients soon learned, music’s loss was advertising’s gain.
FUNG CHEUNG A veteran of the Australian production scene, Fung Cheung came to the Philippines wide-eyed and ready for an adventure. As Revolver Studio’s in-house cinematographer, Fung’s methodical technique, eye for detail, ability to improvise and a knack for literally sketching out exactly what he wants to see in a given shot, it would seem that both Fung and Philippine advertising have found exactly what they’ve been looking for.
WORLD CLASS The Philippines isn’t the only place you can see this country’s production and post production work. As the internet and awards shows give us an ever-growing audience, the amount of work done here is sure to increase, showing in no uncertain terms that our local houses are more than capable of producing material fit for broadcast, display and viewing in every part of the world. Presented here are some examples of local work that’s been done with the foreign market in mind.
Regional
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Clean Air Asia H it Pro d uc tio n s
Client: Clean Air Asia Sound: Hit Productions Category: Public interest Agency: BBDO Guerrero Production: Pabrika
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S amson
Wel ovep os t Product: Dove Client: Unilever Agency: Ogilvy & Mather Director: Diana Yee Production: Yellow Brick Road Productions
adobo magazine PRODUCTION SHOWCASE 2013
United Kingdom S al ads Hit Productions
Music Score/Arranger: Brian Cua Audio Post-Engineer: Regie Ambas and Richard Genabe Voiceover Talent: Rodney Hall Voiceover Caster/Coordinator: Jane Gimongala-Flores Soundtrack/Audio Producer: Sharon Ambas
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China
Anchor
A b r aca d ab r a Client: Anchor Beer Product: Anchor Beer Agency: Leo Burnett Guangzhou Creative Director: Gordon Hughes Agency Producer: Catherine Law Director: Franco Marinelli Cinematographer: Gary Wappshot Production Designer: Dante Mendoza Production Manager: Jun Gomez
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Mandarin
A b r aca d ab r a
Client: Walmart Product: Walmart Agency: Iwgroup, Inc. Creative Director: John Lee Wong Agency Producer: Michael Cha Director: Franco Marinelli Cinematographer: Geoffrey Hall Production Designer: Peter Collias Production Manager: Maritess Benjamin
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ADVERTORIAL
Straight Shooters Media Inc. partners with ace lensman Mark Nicdao
As Unitel’s dedicated TVC production arm, Straight Shooters is commited to providing clients with the expert, customized service they have come to expect in all aspects of the creation of world class television commercial material.
Henceforth, Nicdao and Wildbunchplus MN Inc., will be exclusively represented locally and globally by Straight Shooters for print requirements packaged with a TVC and other film/ video formats, as well as for projects with extensive production design.
Reflecting this direction, Straight Shooters is proud to unveil an exciting tie-up with celebrity photographer extraordinaire Mark Nicdao, and his company, Wildbunchplus MN Inc.
Through this latest venture, Straight Shooters will be able to provide clients a new option to promote their brands’ stories, not only through the venerable art of motion picture, but with the power, beauty and immediacy that can only be found in the finest stills, as shot by a master lensman.
One of the country’s most famous and soughtafter photographers, Mark Nicdao’s work is regularly featured on magazine covers, pictorials and campaigns. “This (the tie-up) is something that we’re very excited about, and we look forward to seeing the projects we can collaborate on,” says President/Group COO Madonna Tarrayo.
Straight Shooters’ tie-up with Wildbunchplus MN is part of the company’s objective to enhance and strengthen their quality of services in a rapidly evolving, highly competitive business climate, and one that is sure to have the industry talking.
adobo magazine PRODUCTION SHOWCASE 2013
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02 01. Master celebrity photographer Mark Nicdao joins the Straight Shooters family, adding his distinctive vision to the company’s extensive services for TVC production 02. Nicdao and Wildbunchplus MN Inc. will be exclusively represented locally and globally by Straight Shooters Media Inc. for print packages packaged with TVC and other film formats.
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Unitel/StraightShooters Media Inc./Engine Room
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02 01. Straight Shooters Directors Top row (L-R) Chris Martinez, Yam Laranas, Paul Alexei Basinillo, Pancho Esguerra, Mark Mendoza
Bottom Row (L-R) Jun Reyes, Nic Reyes, Peter Bannan, Franco Marinelli, Benny Mallik
02. The Modula Motion Control enables the precise control of camera movements and simplifies the process of creating a variety of special-effects shots 03. Virtual set designs are primarily created and executed by Unitel’s Inhouse Creative Director and CG Group Head
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UNITEL PRODUCTIONS, INC. For nearly 30 years, Unitel Productions, Inc. has consistently created the best moving images in the country. With 6 Production House of the Year Awards and a multitude of notable TVCs under its belt, Unitel’s output remains unmatched, including six films Rated A by the Cinema Evaluation Board, including the multi-award winning musical “I Do Bidoo Bidoo”. With the re-introduction of the Unitel Media, Content and Entertainment Division, Unitel aims to become a one-stop media and entertainment shop where a seasoned team of entertainment and advertising specialists undertake creation of film and tv projects, music videos, virals and events, as well as content for mobile and internet media platforms.
UNITEL PRODUCTIONS, INC.
STRAIGHT SHOOTERS MEDIA, INC.
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From its humble beginnings as a spin-off company of Unitel, Straight Shooters has risen to be one of the most sought-after advertising production houses in the country and the region. Following the August 2012 merger of the two companies’ Client Services Group, Straight Shooters now serves as Unitel’s dedicated TVC production arm, having expanded its existing clientele and directorial roster to boast the most number of local and foreign directors for above- and below-the-line endeavors.
ENGINE ROOM From its new facility in Zapote, Engine Room’s expert personnel provide a wide variety of post-production, new technology, motion control and virtual set system solutions. It offers full postproduction capabilities, including motion graphics and design, editing, compositing, color grading and DVD authoring. Also housed at the new office are the Modula Motion Control Rig, as well as the Virtual Set System and Equipment Department of Unitel.
7/F Salustiana D. Ty Tower 104 Paseo De Roxas corner Perea St. Legaspi Village, Makati City T: +632 845 0372 F: +632 845 0367 E: marketing@unitel.ph Madonna Tarrayo President/Group COO
STRAIGHT SHOOTERS MEDIA, INC. +632 830 2291 +632 893 5522 marketing@straightshooters.ph
Grace Quisias VP for Operations
ENGINE ROOM 3318 Zapote St. Brgy. Sta. Cruz Makati City 1205 T: +632 895 9000 F: +632 890 6163 Nolan Estacio Operations Head (Post Production) E: nolan@unitel.ph Reggie Vinluan Creative Director (NewTech and VSS) E: reggievirtualset@gmail.com
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Qatar
Jewel s of Grow t h A b r aca d ab r a Client: Qafco Fertilizer Director: Franco Marinelli
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Vietnam
D ragon Ci t y PostManila Product: Rongdo Client: URC Agency: Boardworks, Inc. Producers: Jesthela Lizardo/Larry Castillo Director: Richard Ang Production: Film Armada Executive Producer: Jessie Revilla
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Jug ger nau t PostManila
adobo magazine PRODUCTION SHOWCASE 2013
Product: Rongdo Client: URC Agency: Club Media Energy Drink Director: Richard Ang Executive Producer: Jessie Revilla Production: Film Armada
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Welovepost
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01. EL PRESIDENTE: The Story of Emilio Aguinaldo and the First Philippine Republic
02. Project “ROCKS” for Tanduay Distillers Inc., by DM9 JaymeSyfu and directed by Paul Alexei Basinillo 03. Project “MAXIMIZE” for Unilab Nutritionals by Ogilvy & Mather Philippines and directed by Peter Manus 04. Project “SPLIT” for Asia Brewery Inc., Finishing by Smoke Artist Tarakeshwar D. Relleta
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Based in Makati Philippines, Welovepost stands as one of the country’s finest postproduction facilities. Their specialty is high end finishing, color grading and visual effects for TV commercial and full-length features. Welovepost built their company around a highly skilled team of artist and paired them with the top hardware-software tools available today. All projects are finished on pristine high definition so clients can certain that their vision is given its full potential and that quality is never compromised. Welovepost started almost four years ago with a mission to give Manila’s top creative minds, a place to complete and share their vision. With their 4th year anniversary coming at the end of July, Welovepost would like to announce its
latest expansion of the 7th floor. WLP’s new floor will house two Autodesk Flame suites, two Autodesk Smoke suites, a 32seat color grading theater, complete with a 4K DCP and grading projection system with surround sound cinema preview, and a 12 seat VFX department. With this latest expansion Welovepost sets off to continue its goal to provide high-end postproduction to the Philippines and the region. Welovepost team believes their success comes from hard work served with a smile. This business isn’t just based on your capabilities but also your relationship with your clients. They work on every project as if it’s their 1st and last. The future looks bright for the postproduction industry in the Philippines and Welovepost is very honored to be a part of it.
WELOVEPOST 6 Floor Coherco Corporate Center 116 VA Rufino St., Legaspi Village Makati City, Philippines 1229 T: +632 812 8758 +632 556 7933 E: inquire@ welovepost.com
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INDEX BULLET MANILA
INVASION FILMS
UNDERGROUND LOGIC
T : +632 954 1697
T : +632 625 5850
T : +632 893 6327
+632 625 0836
F : +632 810 8262
+632 551 2820 E : info@bullet.com.ph
E : inquiry@invasionfilms.ph
E : ugl@undergroundlogic.com
www.bulletmanila.com
facebook.com/invasionfilmsph
www.undergroundlogic.com
ED/OUTPOST
HIT PRODUCTIONS
M : +63 918 911 3681
T : +632 844 1091
E : edoutpost@gmail.com
F : +632 893 8051 www.hitproductions.net
ENGINE ROOM T : +632 895 9000
ONMEDIA
F : +632 890 6163
T : +632 929 7356
E : nolan@unitel.ph
E : info@onmedia.ph
reggievirtualset@gmail.com
www.onmedia.ph
FILMEX
POSTMANILA
T : +632 844 9360
T : +632 893 6080 to 81
F : +632 844 9744
E : stb@postmanila.com
E: marketing@filmex.ph
www.postmanila.com
www.filmex.ph
FULLHOUSE ASIA PRODUCTION STUDIOS, INC. T : +632 551 4610 E : m@fullhouseasia.com gina@fullhouseasia.com www.fullhouseasia.com
REVOLVER STUDIOS, INC. T : +632 808 6158 +632 808 9283 +632 808 9457 E : info@revolver.ph www.revolver.ph
SOUNDESIGN MANILA
GIANTSPONGE DIGITAL, INC.
T : +632 812 6715
T : +632 894 3046
F : +632 813 0517
+632 499 9765 F : +632 894 2738 E : sales@giantspongedigital.com traffic@giantspongedigital.com
www.soundesignmanila.com
STRAIGHT SHOOTERS MEDIA, INC. T : +632 830 2291 F : +632 893 5522
GUNG HO FILMS MANILA
E : marketing@straightshooters.ph
T : +632 478 7583 to 84
www.straightshooters.ph
E : info@gunghofilmsmanila.com www.gunghofilmsmanila.ph
adobo magazine PRODUCTION SHOWCASE 2013
UNITEL T : +632 845 0372 F : +632 845 0367 E : marketing@unitel.ph www.unitel.ph
WELOVEPOST T : +632 812 8758 +632 556 7933 E : inquire@welovepost.com www.welovepost.com
WYD PRODUCTIONS, INC. T : +632 551 4276 E : info@wydmnl.com www.wydmnl.com