In response to the changing commercial environment, Rhythm& Hues Studios is evolving its commercial group in the attempt of creating a new production model.
With the hiring of Paul Babb as its new live action exec producer, the studio has refocused its energies to create what it calls The Complete Digital Studio a full service shop for both advertising agencies and production companies.
The result: Rhythm & Hues Commercial Studios.
The physical and conceptual metamorphosis at R&H began quickly in Babbs first weeks at The Studio with the signing of acclaimed spot and features director Steve Beck. The multiple Clio and AICP award winner, previously with Believe Media, is famed for high profile commercial work featuring his signature blend of compelling and highly visual storytelling.
Becks addition will no doubt bolster R&Hs already impressive creative lineup, which includes live action and effects guru, director Clark Anderson, and the stop-motion specialist known for his Chevron and Serta work, director Michael Wright.
This is a tremendous opportunity to not only regain both quality and control for the work we do, but redefine the way we, as artists work as a whole, said Beck. Not only are we inherently part of the process again, but with The Studio behind us, with all the tools we need to create amazing film, we never need to go out of house. Do you realize what a relief that is?
Having Beck on board further strengthens The Studios complete production arsenal. Rhythm & Hues Commercial Studios offers a full range of award-winning visual effects, computer-generated animation and complete post-production led by Animation + FX exec producer Amy Hassler.
A 12-time Clio award winner, Beck has been a featured commercial director for Super Bowl spots several years running. The advertising community and, more recently, feature film studios have embraced his diverse talents. His commercial projects include Powerade, Gatorade, Chevrolet, Volkswagen, McDonalds, Pontiac and the multi-award winning, multi-year running First Union campaign.
Like many in the industry, [Steve] was frustrated by the fractured production process and felt the work wasnt always nurtured as it should be, Babb added. He saw projects doled out to several contractors: the production company, the editorial house, the effects house, the post facility, etc. each with their own agenda and often felt the art of commercial filmmaking had suffered. And, like Steve, Rhythm & Hues feels its time to address that.
Its actually more of a crafts guild mentality, a true working studio. So everybody wins, Beck explained. At the end of the day, Id love to see a David Fincher project in here. A Daniel Kleinman film. A Spike Jonze piece to join the growing list of our existing top director clients like Hank Perlman, who brought in his Sony DREAMS Project, Jake Scott, Noam Murro and Sam Raimi, who worked on Cingular SPIDER-MAN with CG director John-Mark AustinThe industry needs their work to be as good as it can, because when their work looks good it benefits us all
We believe Rhythm & Hues Commercial Studios is unique in the U.S. at this time, boasts Hassler. Were one of only a few houses that can do it all: live action, CG, effects, editorial and post. And were able to harness the capabilities and R&D resources that come from developing effects and animation for major movie studio clients. From our animation perspective, its also a great opportunity for us to form alliances with outside live directors. When it comes down to it, we want to collaborate with whoever best serves the creative vision, whether in-house or not.
With a 70,000 sq. ft. facility housing hundreds of digital artists and staff, Rhythm & Hues Studios (www.rhythm.com) three production divisions film, commercials and design are industry leaders in their fields. Recent Rhythm & Hues Commercial Studios productions include campaigns featuring the GEICO gecko and the Hartford Stag and spots for Sudafed, Coca-Cola, Mercedes-Benz, AOL, Ritz-Bits and EA Games. Ongoing major projects include Target and Cox Communications. Recent film credits include THE INTERPRETER and THE RING 2. Currently in production are the eagerly anticipated THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE and SUPERMAN RETURNS.
Bill Desowitz, former editor of VFXWorld, is currently the Crafts Editor of IndieWire.
