Working via Anomaly, audioEngine recently mixed Budweiser's expansive Grab a Bud TV and radio campaign. The spots gallivant through the world of nightlife and summertime recreation, from the ball park to the rock show to the night out with your boys, showing the power of Budweiser to inspire memories and good times.
The TV spots include
, a :30 celebration of a sunny day at the St. Louis' Busch Stadium. Starting from the grounds crew placidly watering the field, the spot - and the accompanying music - builds momentum as the crowd rolls in, the Budweisers roll out, and the players take their positions. The action crescendos with a squadron of US fighter planes storming over the packed stadium with the St. Louis Arch rising in the background.
features a similar daylong buildup, this time in a classically detailed amphitheater, where crews prep the stage, lay wires, raise the curtain, and set speakers in place as the Budweiser trucks arrive to fuel the party. The :30 crescendos with an amped crowd exploding in joy as the band strikes its first chords.
is a rollicking :60 amalgam of the two :30s, with extra footage cut in of a bar crew preparing for a big night by stocking up on Budweiser.
The four radio spots pursue a different theme, with a gruff, coach archtype hyping up a crew of rowdy young men as though he were prepping them for a huge game, assuring them that Budweiser will carry them through the night ahead.
suggests that this could be the night the sexiest girl in the bar approaches them;
She's Out There
plants the vision of a girl preparing for a night out - preparing to meet you;
threatens those who would turn in early with the theoretical loss of the Greatest Night of Your Life;
- you were conceived on a night like tonight, when there were no expectations and someone ended up watching the sun rise or partying with a roomful of strangers, thanks to Budweiser. Each spot carries an ever-rising, dramatic musical backdrop in the same vein as the TV spots.
Day Game, Rock Show, Great Times
Air Date: November 2010
CD: Mike Byrne
AD: Jon Zast
Copy: Andy Carrigan
Producer(s): Andrew Loevenguth, Tom Sann
Prod Co: HSI
Director: Michael Haussman
EP: Rebecca Skinner
Producer: Tim Lynch
Editorial Co: RPS
Editor: Adam Pettrofsky, Frank Synder
Assistant Editor(s): Parker Whipple, Arron Tomkins
Producer: Helena Lee
Post/Effects Co: Co3
Sound Design Co: Noise Digital
Sound Designer: Kim Christensen
Audio Post Co: audioEngine
Mixer(s): Tom Goldblatt, Rex Recker, Kelly Harnett, Rob DiFondi, Hillary Martell
Since opening its flagship facility in New York City in 2001, followed by audioEngine West in Phoenix in 2004, audioEngine has earned its reputation as a leader in the audio postproduction market. The magic formula for this success - the ability to deliver a full range of superlative creative services to the advertising, broadcast, and film industries. Featuring eight show place mixing rooms, and an all-star roster of award-winning mixers, sound designers, and composers, audioEngine prides itself on delivering topnotch creative audio in a relaxed and efficient client-centric atmosphere. The flagship facility at 817 Broadway in New York City spans two floors totaling a generous 12,000 square feet of studio space and six studios. Capabilities include mixing for all Dolby formats, complete radio production, custom music, and sound design. audioEngine is led by partners Bob Giammarco, Tom Goldblatt, Rex Recker, and Brian Wick. The roster of mixer/sound designers features Rob DiFondi, Kelly Harnett, Carl Mandelbaum, Hillary Kew Martell and composer Jason Camiolo.
audioEngine contact: Sharon DiTullio-Tepper -
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