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Forums Creative Community Conversations OT: Anyone know who put together the John Lewis Penguin spot?

  • OT: Anyone know who put together the John Lewis Penguin spot?

  • Chris Harlan

    November 28, 2014 at 5:10 pm

    Anyone know who put together the John Lewis Penguin spot? Its seriously good work on all fronts:

    Anyone know who put together the John Lewis Penguin spot?

    https://cutepuppylove.me/2014/11/07/this-is-the-best-commercial-of-the-season/

  • Bill Davis

    November 28, 2014 at 6:04 pm

    It is a fabulous ad. Wonderful to have the luxury of 90 seconds – and even better when every frame is used to such excellent effect.

    Adweek has this breakdown on who’s responsible.

    CREDITS
    Client: John Lewis
    Project: Monty’s Christmas
    Marketing Director: Craig Inglis
    Creative Agency: adam&eveDDB
    Executive Creative Directors: Ben Priest, Emer Stamp, Ben Tollett
    Copywriter: Daniel Fisher
    Art Director: Richard Brim
    Planner: David Golding
    Managing Director: Tammy Einav
    Business Director: Sarah Coleman
    Account Director: Caroline Grayson
    Joint Heads of Integrated Production: Matt Craigie, Cave Ellson
    Digital Producers: Joseph Walker, Olivier Guitton, Agne Acute
    Media Agency: Manning Gottleib, OMD
    Media Planner: James Parnum
    Production Company: Blink Productions
    Director: Dougal Wilson
    Producer: Ewen Brown
    Executive Producer: James Studholme
    Production Manager: Ellie Britton
    First Assistant Director: Jim Cole
    Director of Photography: Joost Van Gelder
    Steadicam: Paul Edwards
    Art Director: Andy Kelly
    Visual Effects: MPC
    Visual Effects Supervisor, Computer Graphics Lead: Diarmid Harrison Murray
    Visual Effects Supervisor, 2-D: Tom Harding
    2-D Creative Director, Shoot Supervisor: Bill McNamara
    Lead Animator: Tim Van Hussen
    Visual Effects Executive Producer: Julie Evans
    Visual Effects Producer: Sarah Walsh
    Grade: MPC
    Colorist: Jean-Clement Soret
    Editor: Joe Guest, Final Cut
    Soundtrack: “Real Love”
    Artist: Tom Odell
    Illustrator: N/A
    Audio Postproduction: Factory Studios
    Sound: Anthony Moore, Neil Johnson
    Digital Production: Stink Digital, Supergoober

    As noted, the Editor is Joe Guest – and it specifies Final Cut – but not whether it’s Legacy or X.

    Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

  • Eric Santiago

    November 28, 2014 at 6:14 pm

    Thank you I needed to see that today 🙂

  • Bill Davis

    November 28, 2014 at 6:52 pm

    Oops, Looks like my Edited on Final Cut comment was a presumption.

    It appears that Joe Guest, the editor – is represented by an editors group called (drumroll) Final Cut.

    This does not appear to have anything to do with the tool used for the editing at all.

    Sorry.

    Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

  • Mark Raudonis

    November 29, 2014 at 12:36 am

    I don’t care WHAT he edited it on… that spot brought a tear to my eye!

    Great job!

  • Dan Stewart

    November 29, 2014 at 1:04 am

    They’re in london. It was not FCP.

  • Bill Davis

    November 29, 2014 at 2:27 am

    Curious as to why you say that. The Honda spot was out of London. The BBC is using X extensively for news. Sports like the Tour de France coverage out of London is cut on X. So what’s your source for that contention?

    Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.

  • Tim Wilson

    November 29, 2014 at 6:15 am

    [Bill Davis] “Curious as to why you say that”

    Without intending any judgments about the relative worth of any products or their appropriateness to the task, and as unpopular as it is to say, there’s simply not any debate about the most present of the NLEs to have a presence in this kind of post, in houses like this.

    “We use Avid Media Composer. A few of the editors use Final Cut Pro, but our main system is Avid.”

    This is from an interview with one of Final Cut’s 28 editors in 4 offices (London, NY, LA and Amsterdam), James Rosen, at Art of the Guillotine, and posted on Final Cut’s website.

    Do note that that sentence is the ENTIRETY of the conversation on the subject, so even as I highly recommend reading it, don’t be disappointed if there’s not much in the way of actual debate. LOL

    I recommend poking around their whole site, too. Terrific, terrific work, both in the many news stories about awards they’ve won, and on the profile pages for each of the editors.

  • Scott Witthaus

    November 29, 2014 at 11:53 am

    [Mark Raudonis] “I don’t care WHAT he edited it on… that spot brought a tear to my eye!”

    Exactly. Quite honestly, any of us could have cut this in iMovie. When I say that, I mean “technically” cut it. It’s a bunch of clean cuts in a row (with a dip to black added for good measure). But, it’s HOW those cuts were designed and paced that makes the magic. The NLE had nothing to do with this. It’s the editor and the skill of storytelling.

    A very cute spot.

    Scott Witthaus
    Senior Editor/Post Production Supervisor
    1708 Inc./Editorial
    Professor, VCU Brandcenter

  • Michael Phillips

    November 29, 2014 at 4:38 pm

    Agree with Scott that the “creative editorial” had to do with pace and rhythm as well as selection of the boy’s performance (facial) to create the emotional storyline of the piece. But, as you can see from the AdWeek credits, this was like a mini-VFX type feature, so most likely lots of roundtrip with different phases of VFX, such as where the penguin was going to be in each of the shots during that creative editorial. It may have even started off as a moving rectangle that gets animated, etc. All of these objects need to be managed and accounted for during “creative” editorial. Even a film like Gravity that ended up having 156 edits. But that does not include the editing and timing of all the layers and events that led up to the shots that resulted in 156 edits. Each production works with the talent and tools that best serve their needs, and again it shows that there is not one tool that does it all.

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