Seeking HD Spots

High-Def Moves Slowly Into Commercials

Image courtesy Leo Ticheli, Tombras Group.

When the comedian known as Carrot Top phones home to promoteAT&T, he's also demonstrating that high-definition acquisition isviable for major commercial campaigns. Regardless of your feelingsabout Carrot Top, the series of national “Call AT&T”spots, directed by Billy Jayne of Space Program, Universal City,Calif., is one of the highest-profile national campaigns shot withSony's 24p HD.

Yet thus far, HD has hardly taken over the world of commercialproduction. Unlike HD's rapid rise in the world of broadcasttelevision, the technology has penetrated commercials as a slow driprather than a rapid flow. As recently as a year ago, shootingcommercials in HD was extremely rare. However, there is evidence thatshooting spots in HD — for both regional and national campaigns— is finally gathering steam.

DP/Director Leo Ticheli used a Panasonic VariCam to shoot HD ads forthe Tombras Group's Gatlinburg Tourism account. Image courtesy LeoTicheli.

In the case of the “Call AT&T” campaign, the firstcommercial was originally produced for theatrical release. Agency Youngand Rubicam chose 24p mainly because it had worked with the format lastyear while producing the Dreams project, a series of experimental shortfilms shot by commercial directors in 24p and shown in movie theatersaround the country. Based on that success, Y&R producer PaisleyMcCaffery felt confident that the AT&T commercial could be shot 24pand then easily transferred back to film for big-screen theatricalexhibition. Eventually, the theatrical commercial evolved into a14-spot national television campaign — all shot in 24p.

“Originally, when we inherited the account, it was a verysimple commercial,” says McCaffery. “Now we're tellingbigger stories with multiple setups, and making it visually a lot moreactive and action-packed in the way we can tell the story. Working withthe HD camera allows us to capture more when we're in an ad-libsituation (due to the relatively inexpensive HD tapes), and it'saffordable enough to allow us to use two cameras.”

Y&R's involvement with HD is more than a passing interest. Inthe last year, the agency has been seriously investigating HD'scommercial possibilities. The agency produces commercials for HD cameramanufacturer Sony, among its other clients, and through thatrelationship it was exposed to Sony's 24p technology early on. Lastyear, Y&R launched the Dreams project specifically to givecommercial directors experience using Sony's HD cameras. Dreamswas created and executive produced by Ken Yagoda, Y&R's managingpartner/director of broadcast productions, and creative directors JamieAmbler and Mark D'Arcy. The project worked so well and received so muchpress that Y&R decided to commission a second Dreams projectthis year. (For more information on the first Dreams project,read “HD Virgins” in the March 2002 Millimeter.)

"Call AT&T" campaign, AT&T/Young and Rubicam

At press time, the second Dreams project, Dreams 2003,was set to debut in New York this month. This time, the films revolvearound the theme of joy. The project will feature short films fromcommercial directors such as Brian Buckley, Jeff Darling, DavidDenneen, Nacho Gayan, Melody McDaniel, Rocky Morton, and NoamMurro.

The project has opened the minds of some film veterans to the notionthat they can execute their creative ideas using HD in the short-formworld of commercials.

Debbie Merlin, executive producer of production company Case GiraldiMedia, says director Bob Giraldi (a contributor to the firstDreams project) has shot at least four major commercialcampaigns in HD since then. In spots for McDonald's, Kraft, Tylenol,and Hallmark, Giraldi used the Panavised version of Sony's CineAlta 24pcamera.

The Waltz was directed by David Denneen, for the second Young andRubicam Dreams project. The first Dreams consisted of a series ofexperimental short films shot in 24p and shown in U.S. theaters. Imagecourtesy Form.

“Bob suggested HD in all these cases,” says Merlin.“I think he felt that they'd be right for the format. I thinkhe'd do a lot of projects in HD, but the agency and the client have tobe ready for it.”

Indeed, commercial filmmakers often seem more open-minded aboutusing HD than agencies. For instance, another Dreams director,Simon Blake, calls HD “a fantastic new development and a greattool.” But despite his enthusiasm for HD's storytellingpotential, in the last year Blake has not been able to convince agencyclients to give HD a try. He's so frustrated by this that he's decidedto shoot, on spec, what he calls a “mixed media” projectusing HD cameras in the next few months. He will add this piece to hisreel in an effort to convince leery agency executives to try HD.

“If I can convince them they can do this kind of work in HD,asopposed to film, especially for broadcast, it might convince them todo a project,” Blake says.

Agency DDB Seattle decided on HD for a campaign for Planet, a groupof organizations that raises awareness among Americans about issuesfacing Third World countries. The format allowed for more efficient useof time while shooting in locations around the world. Image courtesySpyGirl Productions.

Bob Giraldi agrees that advertising agencies continue to be cautiousabout the use of HD in commercials.

“Whatever the reason — and I don't think it's cost,which usually drives our industry — people haven't embraced HD asquickly as I thought they might,” Giraldi says. “Likeeverything else, it takes a little while, and HD will take its place inthe industry.”

That process is underway, albeit at a slow pace. Y&R's Yagodatold Millimeter that his agency has committed to shooting athird of its Sony commercials in HD this year.

“Based on what we've seen, you're not going to gethurt,” says Yagoda, discussing his experience shooting theAT&T campaign. “HD won't bite you. It's reasonably easy towork with, very efficient, and lighting was easy. One of the advantagesis that you really do see what you're getting, so you can safely wrap asequence and move on with a great deal of confidence. Ultimately, itsaved time because we weren't guessing.”

Another agency taking the HD plunge is DDB Seattle. The agency iscreating an HD campaign for Planet, a consortium of organizationsdevoted to raising awareness among Americans about population control,women's and children's health issues, and the environment. Former DDBSeattle producer Deborah Narine (currently a producer at her owncompany, SpyGirl Productions) pushed for HD as a perfect solution forthat campaign, which was shot on location in developing countriesaround the globe.

New York production company Beyond Our Reality shot this HD spot forMcDonald's with Sony's CineAlta cameras. The company owns threeCineAltas, Fujinon and Canon HD lenses, and an Avid HD/DS system.

“We had this brilliant cause with a creative story to betold,” Narine says. “Primarily, the reason we went after HDwas that we'd be going to villages and communities where they've neverseen TV and cameras. We wanted to go in quietly, kindly, andrespectfully. And we wanted to see people in the world as they reallylived. The other part of it was that I was assured that the quality ofthe footage would be exceptional.”

For the Planet project, former Satellite Films director JasonWulfsohn (currently with Bruce Dowad Associates) and cinematographerDavid Morrison shot in Nepal, India, Mozambique, and Mexico over thecourse of three weeks. The shoot was Wulfsohn's first experienceshooting in HD, using the CineAlta system.

“It was the perfect format for us,” says Wulfsohn.“As a director, working with actors who had never been in frontof the camera before, it's unrealistic to expect consistency ofperformance. HD allowed me the option of shooting rehearsals andkeeping the camera rolling when, ordinarily, I'd cut between takes.

“It ended up being a much more efficient use of our time inthe sense that we were able to capture those moments thatnonprofessional actors were giving us. Also, the presence of the camerawas less disruptive. Instead of 20 camera cases, you're working withtwo or three.”

Beyond Our Reality Productions, a New York production company, hasalso gravitated toward producing HD commercials in the last year.Beyond Our Reality owns three Sony CineAlta cameras, Fujinon and CanonHD lenses, and an Avid HD|DS system for HD editing. The companyrecently completed HD spots for Nickelodeon, McDonald's, andVolkswagen, among others. Producer/manager Ken Waddell says there areseveral reasons why creatives at his company are warming up to theformat.

“We do shoot some film, but it's just fallen by the wayside inthe wake of HD,” says Waddell. “Clients love it. One of theadvantages is that there's none of the guesswork, looking at dailies,and realizing something was underlit. The client wants to knoweverything is going to be perfect. The cost savings can also betremendous compared to film. HD gives you a chance to trim down thecrew and equipment costs.”

Outside of the major agencies, others are also experimenting with HD— including the U.S. military. B. Sean Fairburn, acinematographer and HD technician, is also a chief warrant officer forvisual information in the Marine Corps. Fairburn says a project waslaunched in late 2001 to prove to the Marine Corps that HD could lookas good as film and be as cost-effective as video. That project was asingle spec HD cinema commercial promoting the Marines that wasdirected and produced by public affairs officer Capt. Matt Morgan andshot by Fairburn.

Mills/James Productions of Columbus, Ohio, now shoots almost all ofits ads for political clients in HD. This spot was shot for a campaignfor Dayton's last mayoral race. Image courtesy Mill/JamesProductions.

Fairburn says that piece persuaded the Marine Corps to produce atheatrical four-minute commercial created by production company FlyingTiger Films of New York City. The theatrical commercial played at RegalTheaters nationwide.

Not to be outdone, the U.S. Army recently greenlit a 10-spot HDbroadcast campaign for recruiting. The commercials are currently inproduction, feature an ENG shooting style, and are being shot byFairburn.

The regional/local market is one arena where HD appears to becarving out a sizable niche. In Birmingham, Ala., director/DP LeoTicheli says he's entirely replaced film with HD for his clients.

“I've shot no film for over a year,” says Ticheli, whopurchased a Panasonic AJ-HDC27 VariCam for his commercial work.“My film clients are now able to take the 25% of their budgetthat went into film stock and processing and put it into more expensivesets, more extras, and — what I love most — more shootingdays.”

For Ticheli, whose clients usually budget between $20,000 to$100,000 for a commercial, the economics of shooting HD with thePanasonic VariCam make sense.

“The whole package was purchased for about the same price Ispent on DigiBeta a few years ago,” says Ticheli. “Here Iam, getting a filmic look, an incredible bonus for my client, and I'mpaying no more. That took me five minutes to figure out.”

How did Ticheli convince clients to stick with him through thetransitionto HD?

“I show them this incredibly beautiful image and ask,‘How would you like your work to look like this?’ And theysay yes,” says Ticheli.

At press time, Ticheli had just completed two HD commercialspromoting tourism in Gatlinburg, Tenn. — spots produced by agencythe Tombras Group agency in Knoxville. Ticheli says agency executivesand clients were especially enthusiastic about seeing images on a largemonitor during the shoot, (without waiting for dailies), and they alsoappreciated the speed of the shoot.

“A new incentive program comes out and the client wants (topromote) it on the air tomorrow,” Ticheli says. “Yourpolitical opponent makes a charge you want to rebut the next night. Youcan't do that with film, but you can with HD.”

Ticheli says HD's evolution seems to favor commercial applications.For a time, only Sony's CineAlta system was available for high-end HDwork. Now, however, the Panasonic VariCam has started to penetrate themarket. Ticheli says the ability to offer variable frame rates, from4fps to 60fps in one-frame increments, is a huge plus for commercialwork.

Mills/James Productions in Columbus, Ohio, completed its first HDspot in June 2001. The commerical was for Ohio doll manufacturer LeeMiddleton Dolls, and was shot using the CineAlta system. Since then,says Scott Lanum, Mills/James vice president of teleproductionservices, the company has entered into a relationship with rental giantFletcher Chicago to acquire a full CineAlta camera package forcommercial production work.

“That's given us the opportunity to offer our clients HDwithout having to pay shipping from Chicago or New York,” saysLanum. “It's become very cost-effective for us and our clients.It's now comparable to the local folks who own 35mmpackages.”

The company's use of HD for regional commercials has taken off,especially for political clients in areas ranging from Ohio toWashington, D.C., to Dallas.

“In 2000, most of our political clients shot on 16mm or35mm,” says Lanum. “We had another major campaign run in2002, and almost everything was shot in 24p. From August throughSeptember, we had two crews out on four shoot days out of seven eachweek. If it's not right, we don't push it, but there are manyapplications for which 24p is the best choice.”

For example, says Mills/James DP Scott Myers, if a clientconsidering 16mm needs bluescreen for a spot, he tries to guide theclient to choosing either 35mm or 24p, pointing out that HD can beparticularly cost-effective for lower-budget, local commercialwork.

“HD 24p shines because of the long load time and cheaper tapestock,” says Myers. “Since audio can be figured inside (byrecording production audio directly onto the HD tape), you don't alwayshave to have a separate audio guy, and if it needs to, it can go into arun-and-gun camcorder mode.”

Myers also says commercial production companies can take advantageof experienced video professionals to save clients money and time inpost by achieving the desired look directly in-camera.

“If you've got an engineer who really knows what the monitorlooks like, he becomes the colorist,” Myers says. “We cango straight into post, and don't need to do tape-to-tape colorcorrection.”

On regional and local productions, using HD in ways that save moneyin both production and post is a huge consideration, since such clientsgenerally have less money to work with, Lanum says.

“The format has been able to elevate ad agency clients bygiving them a better-looking image for less,” Lanum says.“There's also a benefit for local and regional retailers who canshoot local-running material in HD, and seamlessly cut it into materialfrom their national headquarters, which has been shot in 35mm. Itmatches the rest of the material and doesn't feel like a localad.”

But despite all these steps forward, particularly in the localarena, HD commercial production hasn't yet found the momentum to becomea major player in national commercial production.

Marker Karahadian, president of Burbank's Plus 8 Video rental house,a company that rents HD gear to TV and commercial productions on bothcoasts, doubts the commercial production industry will be movingwholesale to HD any time soon.

“We haven't found a huge group of commercial producersinterested in shooting HD,” says Karahadian. “New York isknown more for doing people stories — children, old people,animals — and that's more appropriate for a move to HD. But ifyou're going to shoot the fizz on top of champagne, there's not a lotof motivation to move off film from the agency's point ofview.”

There are lots of reasons for this, and many revolve around simplecomfort level issues for the commercial production industry. From abusiness point of view, there are also good reasons — namely,that many of the cost considerations driving broadcast televisionproduction into the HD realm simply don't apply in the commercialworld.

“In feature films or episodic TV, the cost of the film mediumis a large chunk of your budget, and to be able to exchange that with a$70 tape is a significant difference,” says Andrew Floyd,marketing manager of content creation systems for Sony. “In thecommercial world, shooting a 30-second spot budgeted at $300,000 to $1million, the cost of the film is such a small percentage of the totalbudget that (film and lab costs) are not a main driver (forchange).”

Floyd also points to the comfort level issue.

“For any given potential job, you have the client who's payingthe money to get the commercial made; the production company, whichincludes the director; and the advertising agency all involved,”Floyd says. “If any one of them is at all antsy about tryingsomething new with their $1 million, it's very hard to push them. Tosuddenly one day try something completely new is a scarything.”

Then what will drive large-scale adoption of HD for commercials?Obviously, manufacturers are pushing to educate their target marketsabout the workflow benefits of HD production. That's an approach Sony,Panasonic, and others have had considerable success with in thebroadcast television realm.

But when all is said and done, the migration — if there everis one — will only happen when and if creatives experience andenjoy HD production firsthand, and at the same time agencies andclients receive clear financial benefits.

Of those who have experienced HD commercial production firsthand,many have become believers — not necessarily in replacing film,but rather in adding HD as a serious tool to consider when creatingcommercial productions.

“If film decided to marry tape, one of its children would beHD,” Giraldi says. “It has a little bit of the mood andtexture of a film recording and it certainly has the presence andimmediacy of videotape. There's no question that HD will be a player,and once it is, the advertising world will want to embraceit.”