Commercials 30 ROGUE 8
2-3 Bourlet Close, London, W1W 7BQ t 020 7907 1000 w
roguefilms.com
key management David van der Gaag, Charlie Crompton, Philippa Allen directors number 27th commissions 6th peer 15th awards 7th top ads/directors 7th credits Beauty and the Beastsby Sam Brown for BBH/Audi; New Dimensionby Sam Brown for CHI/Samsung
Rogue is another of this year’s climbers, leaping from eighteenth up to eighth place in the Commercials 30. The last 12 months, says Rogue, was “the best year in its 14 year history and that’s despite the usual refrain of tighter budgets, oppressive cost controllers and nervous clients/agencies. We can only put that down to a post recession unblocking of commissioning pipes, the football World Cup and a commitment to marketing premium talent.”
INDEPENDENT 9
7/8 Bourlet Close, London, W1W 7BW t 020 7927 9400 w
independ.net
md Jani Guest head of prod Verity White head of animation/exec prod Dan Dickenson dir number 8th commissions 24th peer 20th awards 19th top ads/directors 4th credits NikeWrite The Future/Ripple Effect by Alejandro González Iñárritu for W+K/Nike; Train Stationby Philippe Andre for Leo Burnett/Homebase
KNUCKLEHEAD 10
Unit 22/23 Archer Street Studios, 10-11 Archer Street, London, W1D 7AZ t 020 7292 7950 w
knucklehead.co.uk
mds Matthew Brown, Tim Katz new business/prod Stephanie Hunter directors number 33rd commissions 18th peer 6th awards 4th top ads/directors - credits Hardchorusby Ben Gregor for Droga 5/Puma; Fountainby Daniel Barber for WCRS/BMW
Independent’s much lauded Nike spot Rogue’s Beauty and the Beastsfor Audi NEXUS =12
A clear highlight for Independent this year was Alejandro González Iñárritu’s much celebrated Nike Write The Future World Cup spot for W+K. However, despite having made the year’s best ad, Independent says 2010 has fallen some way short of being a great year. “It’s been a case of feast or famine. Projects have been well funded or, at the other end of the spectrum, not properly funded. The former have been highly competitive to secure. And the latter very challenging to deliver creatively.”
It was Knucklehead’s performance at this year’s Cannes Lions that proved to be its biggest highlight as the company was selected as the number seven production company worldwide. It also picked up a couple of gold awards for the Ben Gregor-directed Hardchorusspot for Puma. Outside of commercials and director Daniel Barber’s first movie Harry Brownalso won plaudits, gaining the best UK film gong at the Empire awards.
GREAT GUNS 11
43/45 Camden Road, London, NW1 9LR t 020 7692 4444 w
greatguns.com
key management Laura Gregory, Martha Greene, Paul Tookey directors number 9th commissions 31st peer 15th awards 18th top ads/directors - credits Nike AIR Secrets by Shearer for Nike Arnold/Nike AIR; BBC Radio Sussex by Olly Blackburn for Red Bee Media/BBC
£167k
Is the average budget for a 30-second ad in 2010
Knucklehead’s Puma Hardchorus viral
Even though Great Guns says the past year has been “tough all round”, it’s still managed to climb from 29th to 11th place. That’s partly because it’s picked up recognition for spots like Shearer’s Nike Air Secretsand Olly Blackburn’s BBC Radio Sussex, driving up its peer poll and awards score. With 30 directors on its roster, Great Guns made 38 ads. Still, says Great Guns, “There’s not enough money for projects, not enough pre- production time, not enough trust from clients with their agencies...”
113-114 Shoreditch High Street, London, E1 6JN t 020 7749 7500 w
nexusproductions.com
key management Christopher O’Reilly, Charlotte Bavasso, Julia Parfitt, Cedric Gairard directors number 14th commissions 8th peer 10th awards 20th top ads/directors - credits Paintit Blackby Smith & Foulkes for The Campaign Palace/Panasonic; Tripletsby RBG6 for W+K Portland/Target
Nexus is one production company that wholeheartedly embraces other
mediums alongside its traditional heartland of the straight TV spot. At the beginning of the year it launched its new offshoot Nexus Interactive Arts that represents digital talent like Theo and Emily, Champagne Valentine, Mini Vegas and Roel Wouters. The first fruits of this included Theo and Emily’s iPhone app for Tate Britain’s Eadweard Muybridge exhibition that gave iPhone users the chance to animate their own Muybridge- esque sequences, using a custom-built ‘Muybridgizer’ app. There was also Champagne Valentine’s microsite for Tate Modern’s Miroslaw Balka ‘How It Is’ installation (part of the Unilever Series) that was nominated for a Webby.
November 10 I
www.televisual.com 13
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