Narrow Door’s Post

Christina Humphries collaborates with Angry Butterfly and director Tristan Barrocks of Undivided for Jane/Finch Centre. “Write Us Off” is an impactful new campaign that looks at a community long written off and invites businesses to “write off” the community again, this time through bias training which supports the community and comes with a tax receipt.⁣ ⁣ __⁣ ⁣ ⁣ Jane/Finch Community and Family Centre “Write Us Off”⁣ ⁣ Editorial: Rooster Post Production⁣ Editor: Christina Humphries  Assistant Editor: Lenka Gmitrova Producer: Nicole Stamford⁣ Executive Producer: Melissa Kahn⁣ ⁣ Production: Undivided Creative Inc  Director: Tristan Barrocks DOP: Angel Navarro III  Executive Producer: Barclay J. Maude Executive Producer: Scott Houghton ⁣ Agency: Angry Butterfly CCO: Erin Kawalecki VP Head Of Production: Hanna Bratt ACD & Art Director: Chenice Piercy ACD & Copywriter: Ryan Chiasson ⁣ Colour & VFX / Finishing : Fort York VFX  Colourist: Jason Zukowski  Lead VFX Artist: Melissa Vasiliev  Flame Artists: Luke White, James Marin, Alex Boothby⁣ Motion Graphics: Serina Choi⁣ Executive Producer: Cathy Jefferies, PMP ⁣ Audio: TA2 Sound + Music 

What would Rosie the Riveter be like in the 21st century? #GoodAdsMatter This campaign, titled ‘Built To Last’ by BlueForge Alliance, launched in partnership with adam&eveDDB New York, reinvents the iconic Rosie the Riveter for a modern audience. This year-long initiative aims to inspire a new generation to consider fulfilling careers in maritime manufacturing, an industry that values resilience and innovation. The heart of the ad features a modern "Rosie" navigating the instability of gig work while yearning for a more rewarding and stable career. Set to Édith Piaf’s timeless “Je Ne Regrette Rien,” the visuals showcase Rosie's transformation as she discovers the opportunities maritime manufacturing offers—not just for a job, but a legacy. The campaign's authentic storytelling and striking imagery underscore the enduring value of hard work and craftsmanship. With a strong digital presence across platforms like YouTube, Reddit, and Twitch, the ad connects with younger audiences, presenting maritime manufacturing as a career “built to last.” Country: USA Year: 2024 Brand: BlueForge Alliance Business Affairs Manager: Melissa Wren Managing Director: Erin Johnson Marketing: Lauren E. Agency: adam&eveDDB US Chief Creative Officer: Richard Brim Executive Creative Director: Daniel Bonder & David Brown Art Director: Willow Ennen Copywriter: Gabe Santana Head of Production: Abbie Noon Executive Producer: Christina Carter Producer: Kayla Rudess Managing Director: James Rowe Business Director: Vanessa Colón Account Handling: Carla Freire Director of Business Affairs: Matthew Friday Production: MJZ Director: Nick Ball Director of Photography: Alwin Kuchler Executive Producer: David Zander & Noah Goldsmith Line Producer: Karen Chen Production Supervisor: Beth Schiffman 1st AD: Peter Kohn Production Designer: Andrew Clark Location Manager: Dave Doumeng 2nd AD: Heather Anderson & Andrew Hands Costume Designer: Patrik Milani & Amanda Carter Makeup Artist: olive meyer Post Production / VFX: Color Collective Colourist: Alex Bickel Colour Producer: Claudia Guevara Colour Assistant: Javiera Ergas Post Production / VFX: Parliament VFX Supervisor: Thomas Graham & Phil Crowe Creative: jade kim, Dan Fine, Ashley Thomas, Alex Koester, Andy Wheater, Juan Zavala, James Cudahy, Damien Cho, Juan Carlos Barquet, Lenz Kol, Franz Kohl , Ryan Harper Producer: Anna Kravtsov, Olivia Schneider, Kamilla Kulieva (credits contd. in the comments) Good Ads Matter 𝗶𝘀 𝗮𝗻 𝗲𝘅𝗰𝗹𝘂𝘀𝗶𝘃𝗲 𝟭% 𝗰𝗹𝘂𝗯 𝗼𝗳 𝗮𝗹𝗹 𝘁𝗵𝗶𝗻𝗴𝘀 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴 𝗮𝗻𝗱 𝗮𝗱𝘃𝗲𝗿𝘁𝗶𝘀𝗶𝗻𝗴 𝗮𝗰𝗿𝗼𝘀𝘀 𝘁𝗵𝗲 𝗴𝗹𝗼𝗯𝗲 𝘄𝗵𝗲𝗿𝗲 𝘄𝗲 𝗰𝗲𝗹𝗲𝗯𝗿𝗮𝘁𝗲 𝗚𝗼𝗼𝗱 𝗔𝗱𝘀 𝗮𝗻𝗱 𝗔𝗱 𝗠𝗮𝗸𝗲𝗿𝘀 𝗮𝗹𝗶𝗸𝗲! 𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲 𝗵𝗲𝗿𝗲 - https://lnkd.in/dtrkzyaa #Tribute #PrintAd #Creativity #Marketing #Advertising #Branding #PurposeStudios #PursuePurpose

Q5.) What is match cut? A "match cut" is a film editing technique that connects two different shots by matching their visual elements or actions, creating a seamless and often meaningful transition between them. Types of Match Cuts: Graphic Match Cut: This involves matching the composition, shape, or color of two different scenes. For example, a shot of the sun setting might be followed by a shot of a similar circular object, like a clock face. Action Match Cut: This connects two shots with a similar action or movement. For instance, a character might begin an action in one scene (like opening a door) and complete it in another (entering a different location). Thematic Match Cut: This uses matching elements to link two scenes with similar thematic content. For example, a character looking at a photo in one scene might cut to another scene where the same character is in a similar setting or situation depicted in the photo. Examples of Match Cuts: "2001: A Space Odyssey" (1968): One of the most famous match cuts occurs when a prehistoric bone thrown into the air transitions to a similarly shaped spacecraft in orbit, spanning millions of years in an instant. "Lawrence of Arabia" (1962): A match cut shows T.E. Lawrence blowing out a match, immediately transitioning to a sunrise over the desert, connecting the two scenes with a visual and thematic link. "Psycho" (1960): The film uses a match cut from a close-up of a shower drain to the eye of the character Marion Crane, creating a visual and symbolic connection between the two images. Uses of Match Cuts: Smooth Transitions: Match cuts provide a visually pleasing way to move from one scene to another, making the transition less jarring for the audience. Narrative Connection: They help to establish a connection between two scenes or ideas, often providing deeper meaning or insight into the story. Symbolism and Foreshadowing: Match cuts can introduce symbolic elements or foreshadow future events, enriching the storytelling. Emotional Impact: By linking visually similar scenes, match cuts can evoke strong emotional responses and enhance the audience's engagement with the narrative. Implementing Match Cuts: Planning: Match cuts often require careful planning during the pre-production and shooting stages to ensure that the visual elements align seamlessly. Editing: In post-production, editors meticulously match the frames to create a smooth transition. This might involve precise timing and adjustments to ensure the two shots blend perfectly. Storyboarding: Storyboards can be helpful in visualizing how the match cut will work and ensuring that both the director and editor have a clear understanding of the desired effect. Match cuts are a powerful tool in the filmmaker's repertoire, providing creative ways to link scenes, enhance storytelling, and captivate the audience.

Bodyform is back at it, calling for better period education in their latest campaign, ‘Never Just a Period’. #GoodAdsMatter With a history of smashing taboos and sparking honest conversations about women’s bodies, this ad, too, tackles the issue head-on. The narrative revolves around how inadequate education and guidance about periods can lead to confusion and anxiety at any stage of a woman's life. With a mix of live action and animated sequences, paired with a Greek chorus inspired soundtrack, the ad takes us through a series of confusing times and often daunting scenarios—from tampon instructions to missed periods, and the realities of motherhood. What makes this campaign stand out is its creative execution. The actual stop-motion footage is combined with carefully crafted 2D effects to create a unique visual experience. The choice of design elements and minimal VFX shots add to the raw and authentic feel of the ad, making it not just a better call for education, but also a piece of art in itself, right? 𝗝𝗼𝗶𝗻 𝗼𝘂𝗿 𝗰𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆 𝗼𝗳 𝟱𝟬𝟬𝗸+ 𝗺𝗮𝗿𝗸𝗲𝘁𝗶𝗻𝗴/𝗮𝗱𝘃𝗲𝗿𝘁𝗶𝘀𝗶𝗻𝗴 𝗲𝗻𝘁𝗵𝘂𝘀𝗶𝗮𝘀𝘁𝘀 𝗮𝗻𝗱 𝗹𝗲𝗮𝗿𝗻 𝗵𝗼𝘄 𝘀𝘂𝗰𝗰𝗲𝘀𝘀𝗳𝘂𝗹 𝗮𝗱 𝗰𝗮𝗺𝗽𝗮𝗶𝗴𝗻𝘀 𝗮𝗿𝗲 𝗰𝗿𝗮𝗳𝘁𝗲𝗱! 𝗦𝗶𝗴𝗻 𝘂𝗽 𝘁𝗼 𝗼𝘂𝗿 𝟭𝟬𝟬% 𝗳𝗿𝗲𝗲, 𝗵𝗮𝗻𝗱𝗰𝗿𝗮𝗳𝘁𝗲𝗱 𝗺𝗼𝗻𝘁𝗵𝗹𝘆 𝗻𝗲𝘄𝘀𝗹𝗲𝘁𝘁𝗲𝗿 𝗵𝗲𝗿𝗲 - https://lnkd.in/dg3JEGpK Country: UK Year: 2024 Brand: Libresse / Libresse Team: Tanja Grubner & Luciana de Azevedo Lara Agency: AMV BBDO CCO/CD: Nicholas Hulley, Nadja Lossgott Producer: Rebecca Scharf Creative Team: Lauren Peters, Augustine Cerf Creative Design Director: Vanessa Fowler Kendall Designer: Dian Sofia Junior Producer: Lilli Burridge Payne Account Team: Henrietta Corley, Semran K., Louise Mather Planning Team: Margaux REVOL, Summer Taylor Production Company: SMUGGLER Executive Producer: Lucy Kelly Producer: Claire Jones Director: lucy forbes DOP: Polly Morgan Production Designer: Alex Holmes Production Manager: Ellie Sanders Wright Photographer: Aleksandra Martinovic Casting: Ali Fearnley VFX: Framestore Creative Director: Sharon Lock Producer: Sara Beckman Producer Asst.: Jamie Scott Producer Coordinator: Rachel Knight VFX Supervisor: Murray Butler FX: Philip Child 2D Animation: Jocie Juritz Flame Lead: Andy Salter Flame: Paul O'Brien, Vinny David Nuke Artists: Aitor Echeveste, Håkon Løberg Design: Sharon Lock, Craig Maxwell, Charlie Keeper, Jack Field, Daniella Marsh Editorial: tenthree Producers: Ed Hoadley, Rachel Googder Editors: Ellie Johnson, Elena De Palma, Liam Bachler Asst. Editor: Ella Oliver Colour: Cheat Colourist: Toby Tomkins 𝗛𝗮𝗻𝗱-𝗽𝗶𝗰𝗸𝗲𝗱 𝗯𝘆 Good Ads Matter, 𝗮𝗻 𝗶𝗻𝗶𝘁𝗶𝗮𝘁𝗶𝘃𝗲 𝗯𝘆 Purpose Studios. ––––––––––––––––––––– #Marketing #Advertising #PurposeStudios #PursuePurpose

What if one of the most exciting clients we’ve ever worked with asked us to create a video so impactful… we can’t show it?  A project that will represent them everywhere, yet we can’t reveal we were behind it. Imagine this: raw video footage, skillfully merged with breathtaking motion graphics, baked at high intensity until it crystallized into a sharp, tech-powered story. We can’t show you the video, but here’s a hint: a global giant with a strong footprint in Israel. Attached are is a muted sequence from the film (on mute) to keep the mystery alive. A credit roll without the film is below: A space cat video creative production Creative direction and CEO: Liat Yoffe Design and animation: Maayan Erlich and Or Drori Script: Michael Nirgad Guy Offline editor: Erez Markovich  Narrator: Maya Flamm Sound design and mix: Guy Shkedy English: Josh Genuth Space Cat office: Lir Abergil 

It seems to be the industry standard for 1 person to do all these different roles! Personally I think this is the reason why the quality bar has dropped so low over recent years! Quality comes from spending time perfecting the one craft to provide the higher level of quality that is not seen now because there are so many different roles that need to be fulfilled by the 1 person. Cheaper way of doing business why hire multiple highly trained people when 1 person will do the jobs for a cheaper price.

Freelance artist, or "yeah, I work 10 jobs" When I first got some good projects, I thought I'd wake up famous the next morning after the releases (ha-ha). But in reality, I was scared to check social media because I didn't know what to expect – silence, hate, approval, media mentions? I felt a strong need to be noticed by both the general public and the professional community. Basically, I wanted sudden, endless love from everyone on the internet (as if that happens). Turns out, getting attention is a whole job in itself.  A job – finding clients.  A job – defending your copyright and interests.  A job – creating art.  A job – promoting yourself as a brand. Now, after any release, I get a headache – having to tell everyone about the project 10 times, dance around on camera, post it on all social media and portfolios, send the successful case to other clients. Some people might enjoy this, but not me. But it's part of the job. As for approval and fame – I don't need others' approval as much as I need my own. Is this good for me as an artist? Did the fee cover my efforts? Did I surpass my previous results? And now, waking up isn't as scary, because I've already proven something to someone. Daria, digital 3D/AI artist, music video director

Some #wicked technology… The film adaptation of the beloved musical “Wicked” has captivated audiences not only with its enchanting narrative but also through the innovative technologies and creative collaborations that brought the Land of Oz to life. 1. Practical Set Designs and Real-Life Elements Director Jon M. Chu and production designer Nathan Crowley prioritized tangible set designs over CGI to create an immersive experience. A notable example is the planting of nine million tulips to authentically depict Munchkinland, enhancing the film’s visual richness. 2. Advanced Visual Effects and Color Challenges The character Elphaba’s green skin presented unique challenges for the visual effects team, as traditional green-screen technology would render her invisible. To address this, VFX supervisor Pablo Helman and Director of Photography Alice Brooks opted for blue-screen technology and innovative lighting techniques to maintain visual consistency. 3. Integration of Virtual Reality in Post-Production Embracing cutting-edge technology, Jon M. Chu utilized Apple’s Vision Pro for remote editing sessions with editor Myron Kerstein. This approach allowed for seamless collaboration and efficient post-production workflows, even amidst unforeseen challenges. 4. Strategic Brand Partnerships and Marketing Innovations The film’s marketing strategy included collaborations with brands like Casetify, which launched a “Wicked”-themed collection of tech accessories. These partnerships expanded the film’s reach and created unique consumer engagement opportunities. 5. Emphasis on Practical Effects Over CGI Makeup and hair designer Frances Hannon highlighted the film’s commitment to practical effects, contrasting it with the heavy reliance on CGI in other productions. This approach fostered authentic storytelling and a tangible connection for both actors and audiences. Key Takeaways for Businesses: 1. 𝗕𝗮𝗹𝗮𝗻𝗰𝗲 𝗜𝗻𝗻𝗼𝘃𝗮𝘁𝗶𝗼𝗻 𝘄𝗶𝘁𝗵 𝗔𝘂𝘁𝗵𝗲𝗻𝘁𝗶𝗰𝗶𝘁𝘆: Combining advanced technologies with real-world elements can create more engaging and relatable experiences for audiences. 2. 𝗔𝗱𝗮𝗽𝘁 𝘁𝗼 𝗨𝗻𝗶𝗾𝘂𝗲 𝗖𝗵𝗮𝗹𝗹𝗲𝗻𝗴𝗲𝘀 𝘄𝗶𝘁𝗵 𝗖𝗿𝗲𝗮𝘁𝗶𝘃𝗲 𝗦𝗼𝗹𝘂𝘁𝗶𝗼𝗻𝘀: Addressing specific project challenges through innovative thinking can lead to more effective and efficient outcomes. 3. 𝗟𝗲𝘃𝗲𝗿𝗮𝗴𝗲 𝗦𝘁𝗿𝗮𝘁𝗲𝗴𝗶𝗰 𝗣𝗮𝗿𝘁𝗻𝗲𝗿𝘀𝗵𝗶𝗽𝘀 𝗳𝗼𝗿 𝗘𝗻𝗵𝗮𝗻𝗰𝗲𝗱 𝗥𝗲𝗮𝗰𝗵: Collaborating with complementary brands can amplify marketing efforts and foster deeper consumer engagement. By integrating these strategies, businesses can navigate complex projects and deliver compelling experiences that resonate with their target audiences.

"Plumbertoonz, a hybrid 2D / AI Animated Production #plumbers #HVAC #plumbermarketing #HVACmarketing I’ll start with a car analogy. From an artistic perspective, AI is Tesla. All electric. “Plumbertoonz” is a hybrid production, kind of a Prius vibe. I know there are a lot of people who are making Pika, Genmo, VideoGen, or Plaiday videos at the touch of a button. Nothing wrong with that. Previous to AI, creating videos took some editing skills. You really needed to know Premier or some other editing software to effectively tell your story. Now add Photoshop, Illustrator, Midjourney, etc. The tools exist to make some interesting videos. My artistic ventures started at about age 5 drawing football players while eating cookies. A few years later I was drawing animated flip-books. Generally, they are a character study, like a running loop, or an eye blink. Creating a background on each frame is quite a commitment. Then there is the problem with paper, if you flip through too much the paper gets worn. Or your hand juice smudges a page. You can only flip so much. Art happens when you are surrounded by inspiration and opportunity. If you’ve got a bucket, two drumsticks, and a guitar, you can make a song. You use what you know. To really understand the Plumbertoonz process, I use Adobe Animate like a multi-layered flip-book. The characters are drawn in Adobe Illustrator, and the voices and sound effects are created at 11Labs. Backgrounds are Midjourney, Ideogram, or Leonardo. I use Adobe Animate to put it all together. This is the basic formula for Plumbertoonz. Passing along “bad dad jokes” is quite the online tradition. Keeping that in mind I wanted to come up with a format that I could make a consistent 30-second series for plumbers. I thought about some characters that I had in my bag and created a plumber that wasn’t fat with a butt crack. I wanted to create a technician that is knowledgeable and tolerant of “Gram’s” latest joke. He does charge overtime if the joke is bad. The cast is a technician, a retired stand-up comedian, a veterinarian, and a baby. Plumbertoonz addresses a few nuances of social media. First, Plumbertoonz is different. Traditional video means recording consistent selfie videos or paying a professional production company to record your content. Plumbertoonz doesn’t require your face, lighting, audio, or script. But what does an animated campaign look like? Campaigns occur in 30-day increments. (4) Plumber or HVAC videos are customized with your information. Each week a new video is posted accompanied by complimentary blog posts. If you have a healthy social media following, you have fresh content to remind them of your service. The “special sauce” is to choose your audience, add SEO and implement Facebook and Google ad campaigns. Prompts are used to help with decision-making, AI is used for backgrounds and voice. The characters started on paper and the writing is human-generated. That is the hybrid formula.