Lil Dicky Boomin'
Directed by Phillip R. Lopez for Xfinity

Client: Xfinity
Agency: Carm

MP: Geno Imbriale
Managing Director: Kirsten Arongino
HoP: Sparkle Jones
Executive Producer: Logan Gilmore | Sean Owolo
Staff Producer: Olivia Possino
Staff Coordinator: Shayda Monjezi

Line Producer: Barret Hacia

DP: Danelle Escallon1st AD: Julia Zolnay
Key Grip: Myles Evenson
Production Manager: Brendan Lynch
Production Coordinator: Monica Guitti
Production Designer: Olivia McManus
Stylist: Westley Austin
Makeup: Tracy Raffelson
Hair: Alex Heinrichs

Post Production: Overture Studios
Edit: Phillip R Lopez
EP, Post: Brian Keegan
ECD: Chris Eckardt
Post Producer: Rylee Axner
Motion Designer: Lukas Weyandt
Compositor: Brinton Jaecks
Compositor: Kevin Pierce
Compositor: Kenn Bell
Flame Artist: Eric Pascua
Colorist: Loren White
Mix:Ian Sorrentino
Assistant Edit: Dominique Machain
Assistant Edit: Stephen Deaver

KIM KARDASHIAN AND JIMMY FALLON BATTLE TO HAVE THEIR OWN BEATS HEADPHONES IN COMIC CAMPAIGN‘Kim vs. Jim’ takes viewers into the ‘room where it happens’—product testingFew people in the world can sell products like Kim Kardashian can. However, a new campaign from Beats by Dre puts that theory to the test by proposing a competition with an unlikely rival: Jimmy Fallon.“Kim vs. Jim,” created by agency Mirimar, pits the beauty and business mogul against the night-time television star in a battle to decide who will get to launch their line of Beats Studio Pro headphones.A humorous 90-second spot (above) depicts an excited Fallon entering Beats HQ to meet with the team that is set to launch his own mustard-colored headphones, inspired by his love of hot dogs. However, when he eavesdrops on a product test meeting, he learns he is up against Kim Kardashian’s sleek, nude-colored headphones named “Earth,” “Moon” and “Dune”—and only one will be released.Few people in the world can sell products like Kim Kardashian can. However, a new campaign from Beats by Dre puts that theory to the test by proposing a competition with an unlikely rival: Jimmy Fallon.“Kim vs. Jim,” created by agency Mirimar, pits the beauty and business mogul against the night-time television star in a battle to decide who will get to launch their line of Beats Studio Pro headphones.A humorous 90-second spot (above) depicts an excited Fallon entering Beats HQ to meet with the team that is set to launch his own mustard-colored headphones, inspired by his love of hot dogs. However, when he eavesdrops on a product test meeting, he learns he is up against Kim Kardashian’s sleek, nude-colored headphones named “Earth,” “Moon” and “Dune”—and only one will be released.Jimmy Fallon's mustard colored beatsGraphic of Jimmy Fallon's mustard colored beatsThe film kicks off a competition between Kardashian and Fallon that will play out on social media, including Instagram polls inviting the public to weigh in and behind-the-scenes confessionals from Kim and Jim.Last week, Fallon released a teaser for headphones on Instagram (below). The campaign plays into the tropes of product testing and engages consumers by bringing them behind the scenes of how product launches are decided.Other teasers, including text exchanges between Kim and Jim, images of the color Fallon chose for his Beats and more, will be released on social over the coming days.The campaign climax will occur when Kim and Jim face off in person on Wednesday, Aug. 14, when Kim appears on “The Tonight Show,” where the winning headphones will be revealed.Ad Age

Kim vs JimDirected by Vincent Peone for Beats by Dre.Client: Beats by Dr. DreAgency: MirimarDirector: Vince PeoneProd Co: ArtClassMP: Geno ImbrialeMD: Kirsten AronginoHoP: Sparkle JonesEP: Logan GilmoreProducer: Olivia PossinoLP: Brendan KlingDP: Marz Miller1st AC: Mike Lemnitzer1st AC: Nobuyoshi SakuraiGaffer: Nick DurrKey Grip: Wadsworth PetersStylist: Diana DillonHMU: Brittany White

Lil’ Mother Petites for Mother Denim. Post by ArtClass.Credits:ECD - Chris EckardtEdit - Jesse ThreattExecutive Producer, Post - Brian KeeganPost Producer - Rylee Axner2D Design/Animation - Esther Kim2D Design/Animation - Roanne KimFlame Artist - Daniel BowhersMix - Julian Bickford

BEATS SPOTLIGHTS JOSH ALLEN AND DANIEL RICCIARDO’S BROMANCE IN COMIC SHORT FILM ABOUT A RACEHORSEMirimar’s ‘The Legend of Ricallen’ project also includes apparel and a branded moment at this weekend’s Belgian Grand PrixBeats by Dre and agency Mirimar put Daniel Ricciardo and Josh Allen’s real-life bromance to good use in an amusing seven-minute film that follows their ill-advised (and fictitious) attempt to solidify their friendship by buying a racehorse together.“The Legend of Ricallen” (see the full film below), starring the Formula One superstar and the NFL quarterback, was directed by Vincent Peone of Art Class. It parodies the trend of celebs making absurd purchases together (Wrexham AFC, anyone?), as the pair find a horse and give it the ludicrous portmanteau name of Ricallen.This horse isn’t going to win any races, however.Along with the film, the campaign has some other interesting elements. There is Ricallen apparel, including a T-shirt, trucker hat and bandana (available through Ricciardo’s Enchante label). Ricciardo will also be sporting a Ricallen helmet during the Belgian Grand Prix this weekend.“We’re fortunate to have a partnership with the Beats team where everyone has been all-in on making the work as fun as possible,” said Luke McKelvey, co-founder of Mirimar. “It's a testament to the relationship Chris [Thorne] and Beats have with their athletes that from day one, Josh and Daniel were fully committed.”“Storytelling is at the core of the Beats brand, and we’re always looking for unique ways to amplify our athletes’ stories beyond their respective sports,” said Thorne, the brand’s chief marketing officer. “Josh and Daniel’s friendship is truly special, and we’re excited to share it with the world.”This is Mirimar’s second Beats effort, following “The Predicament” with Lebron James and Lil Wayne.Ad Age

"The Legend of Ricallen”Directed by Vincent Peone for Beats by Dre starring Josh Allen and Daniel Ricciardo.Client: BeatsAgency: MirimarDirector: Vince PeoneProd Co: ArtClassMP: Geno ImbrialeMD: Kirsten AronginoHoP: Sparkle JonesEP: Logan GilmoreProducer: Olivia PossinoLP: Mike MontenegroDP: Graham Robbins1st AC: Melisse Sporn and Karis WestGaffer: Ardavon FatehiKey Grip: JQ Da SilvaStylist: Mariel GarciaHMU: Jessica AllenEditor: James BogerEP, Post: Brian KeeganPost Producer: Kanika OungAssist Editor: Dominique MachainECD: Chris Eckardt2D Animation Director: James DybvigGFX Animation: Roanne KimAnimation: Arthur GuttillaFlame: Eric PascuaNuke: Joshua BolinColor: Tyler Roth / Company 3

Next-gen production and post studio ArtClass Content has tapped Logan Gilmore and Brian Keegan as its newest executive producers. Brian, previously head of post at ArtClass for two years, has stepped up to helm the department as an EP. Logan has been formally established as an EP at ArtClass after working with the studio as a freelance bidding producer.

Brian Keegan is set to build and expand the post-production department at ArtClass. In his previous roles at the studio, Brian has brought many projects to life for high-profile brands like ESPN, GoFundMe, Broadway’s “The Lion King,” Playstation, Carvana, Anheuser Busch, General Mills, and the SoundCloud-branded narrative film “The Day Ones,” to name a few. Brian also produced the film “Life’s Good” for LG Electronics, which won Best Short Documentary at the Indie Short Fest and screened at multiple international film festivals. His previous experience in post-production saw him working with companies like Psyop, Los York, Roger, and the VFX department of Timber. As a leader, he brings a sense of approachability, calm, and control to the often chaotic production environment.”

“I was impressed by ArtClass's ambition as a company, and I'm excited to contribute to their impact in the post-production industry,” said Brian of his new position at the studio. “My main goal is to collaborate with like-minded creatives, produce high-quality work, and stand out in a competitive landscape—and hopefully have some fun along the way!”

Hailing from Arkansas, Logan Gilmore first got his start in local markets after graduating with a degree in advertising from the University of Arkansas. He would later pivot to production, working in various roles in Austin, TX, including interning under director David Gordon Green for his film Joe, starring Nicolas Cage. Logan later found himself producing internal videos for Apple, which inspired a deeper dive into production. From there, he spent years working freelance in production before finding himself at ArtClass. As a bidding producer, he worked on winning jobs for brands like ESPN, Morgan & Morgan, Smirnoff, and Blue Shield. As an executive producer, Logan is communicative and collaborative, aiming to build relationships and bring artistic visions to life within budget.

Logan said of his new role at ArtClass, “I’ve enjoyed working with all the directors on the roster. Everyone has a unique perspective, and I immediately knew I wanted to be a part of their growth. Working for a commercial production house is exciting, and I’m so grateful to be working full-time in this wild industry. I want to continue the great work that has been started here, help build the careers of our directors, collaborate with clients and agencies, explore new technologies, find new efficiencies in production, and continue to seek out fresh talent.”

ArtClass managing partner Geno Imbriale remarks on the studio’s newest EPs, saying, “We’re thrilled to be able to promote from within at ArtClass. Our goal has always been to grow careers and nurture talent, and we’re honoured any time someone chooses to continue their evolution with us. Brian and Logan are incredible talents and are absolute joys to work with. Everyone from directors to agencies who’ve had the opportunity to collaborate with them is made better for it. I’m very proud of these promotions and can’t wait to see how their efforts shape ArtClass’s future.”

Oren Kaplan directs a new campaign spot for Juniper Networks.Client: JuniperAgency: TBWA\Chiat\Day LADirector: Oren KaplanProd Co: @artclasscontentLocal Service Co: Altered.LAMP: Geno ImbrialeMD: Kirsten AronginoHoP: Sparkle JonesEP: Logan GilmoreProducer: Kelly ChristensenAD: Kevin BradyStylist: Lawren SampleHMU: Kat Thompson and Vanessa ScaliAltered.LAEP: Marcos Cline-MárquezProducer: Marisol ShagunLP: Antonio ThibautPost ArtClassEditor: James P.M. LeeEP, Post: Brian KeeganPost Producer: Kanika OungCutting Assist: Jesse ThreattECD: Chris EckardtComp: Kevin Pierce, Zachary Jacobs, Azra AlkanFlame: Eric PascuaColor: Gregory Reese / Royal MusterAudio: Julian Bickford

Kirsten Arongino joins adaptive production & post studio ArtClass as the next-gen company’s new managing director. As an agency producer for over twenty-five years, she scaled revenue and built brands at revered companies like Deutsch and Ogilvy & Mather and later served as VP and executive producer at Publicis.

A strategic thinker and creative visionary with extensive cross-channel experience, Kirsten thrives on building partnerships with brands and agencies and managing multidisciplinary teams. Her prowess as a producer is reflected in digital and traditional media campaigns for some of the world’s largest brands like Honda, Gap, Campari, Walmart, Tiffany & Co., and several culture-forward work music-driven campaigns for The Gap and McDonald’s. Kirsten was also formerly the director of production at Yard NYC and managing director at Ammolite Inc.Since its founding six years ago, ArtClass has built a reputation for its commitment to craft and experimentation, pushing boundaries and embracing new technologies as tools for creative possibility. Recent notable projects include the first ever brand campaign for Lilly Pulitzer, directed by Matvey Fiks and made in partnership with Yard NYC, using AI to marry the brand’s rich heritage with the industry's newest technology; the new original show Bedtime Stories with Ryan, directed by Vincent Peone and starring Ryan Reynolds for streamer Fubo; and Charlie Kaufman’s dreamy short film “Jackals & Fireflies, produced in partnership with Likely Story and shot by the visionary Chayse Irvin.

Kirsten said of joining ArtClass, “I was fortunate enough to walk into so many great projects within my first month at ArtClass. Every director on their roster is wildly inventive and inspiring to work with. I think it’s a testament to ArtClass taking risks on new talent and supporting them as they grow as commercial filmmakers and its inclination to tackle projects with a diverse range of budgets. I look forward to adding my leadership skills and creative guidance into the mix as ArtClass continues to produce amazing work.”Geno Imbriale, managing partner of ArtClass, added, “You can’t teach what experience gives you, and Kirsten has that in spades. She’s worked on every side of branded filmmaking and created every iteration of content you can imagine. She’s a joy to work with and the missing ingredient we needed as a company. Everyone at ArtClass and I are excited to have her on board.”ArtClass partner/director Vincent Peone added, “We brought Kirsten on under the pretext of Executive Producer, but quickly realised that her skills were completely off the charts, not to mention a perfect fit for our shared vision of future growth. I still regret waiting ten full days to promote her to managing director.”

Vincent Peone and Van Alpert direct a new campaign spot for Furiosa Movie. Starring Damian Lillard.Client: Hearts & SciencesAgency: ESPN CWDirector: Vincent Peono and Van AlpertProd Co: ArtClassMP: Geno ImbrialeMD: Kirsten AronginoHoP: Sparkle JonesEP: Logan GilmoreProducer: Olivia PossinoLP: Terry GallagherTalent: Damian LillardDP: Federico Tamburini1st AC: Hunter Brown2nd AC: Trever SiegmanGaffer: Tim SpellmanKey Grip: Scott QuimbyCreative Director: Chris EckardtEP Post: Brian KeeganPost Producer: Kanika OungEditor: James LeeColor: Alter EgoVFX Supervisor: Kevin PierceStylist: Shanna StackleHair/Makeup: Maggie Kerr

Beats by Dre | Director Jesse Ray Diamond

Mercedes-Benz | Director Curry Sicong Tian

BarkBox | Director Oren Kaplan

Variety - Ryan Reynolds is known for R-rated humor — but now he’s going into dad mode with his first original series for internet TV provider Fubo.Reynolds’ Maximum Effort production company announced the June 20 launch of Maximum Effort Channel on Fubo, which will feature the debut of the partnership’s first original show: Bedtime Stories With Ryan. According to the description of the 15-episode series, Reynolds “reads new and classic bedtime stories in an attempt to soothe your mind and soul (and also his own).”“We’re so happy to create a program with the express goal of putting people to sleep,” Reynolds said in a statement. “This show has actually been a dream of mine for a while. Story time is a nighttime staple in our home and is a daily reminder of the power of storytelling.”Reynolds’ Maximum Effort is an investor in Fubo, and the linear channel on the pay-TV service will be home to original and classic TV and movies “made for maximum comfort.” Maximum Effort also produced spots for Fubo’s recent rebranding campaign.“Bedtime Stories With Ryan” is directed by Vincent Peone and produced by Maximum Effort and Fubo in partnership with ArtClass and Loon Productions, with music by Sleeping At Last. Autodesk has signed on as the official sponsor for the show, which will be designed and made using Autodesk’s software platform."I was immediately drawn to Bedtime Stories as the only show you’d have to set an alarm clock to binge watch," notes Director Vincent Peone. "Collaborating with Ryan and Maximum Effort is a filmmaker’s actual dream because there is always some fun to be had with format, not to mention so much trust. This is the exact way I envisioned ArtClass entering into long form, and we couldn’t have done it with better partners."Additional Press Coverage:Rolling StoneThe Hollywood ReporterEntertainment Tonight Series Production Credits:PRODUCTION & POST: ARTCLASSDirector: Vincent PeoneExecutive Producer: Rebecca NilesExecutive Producer, Post: LauRenn ReedAssociate Producer: Corwin CarollHead of Post Production: Brian KeeganSenior Editors: James P.M. Lee, Tyrone Rhabb, James BogerAssistant Editor: Jesse ThreattAssistant Editor: Joel PorrasAssistant Editor: Kahleb McAdamsAssistant Editor: Nick BruceAssistant Editor: Stephen DeaverPost Producer: Kanika OungPost Coordinator: Rylee AxnerVFX Coordinator: Danielle ScahillExecutive Creative Director: Chris EckardtSenior Art Director: Brandon ToddCG: UNTOLD STUDIOS.Executive Producer: Luke ColsonHead of Production: Mariel SandsSenior Producer: Nicky MaserExecutive Creative: Director Tom TellerExecutive Producer: Julian ConnerExecutive Producer: Seth JosephsonCG Supervisor: Enrique De La GarzaCG Artist: Will HoskinModeler: Mariano Ruiz ManzanoTexture Artist: Juan Fer BravoAnimator: Zhara HonoreAnimator: Steven LeeAnimator: Matheus CaetanoVFX Editor: Michele NagyVISUAL EFFECTS: NEXODUSVFX Supervisor: Robert RosselloVFX Coordinator: Cindy OrmondroydProduction Assistant: Maddie KramerArtist: Holli AlvaradoArtist: Austin BrownArtist: Colin DrobnisArtist: Jadan DuffinArtist: Nick JosephArtist: Josh McGuireArtist: Mike OakleyStudio: John BaerStudio: Joseph BellStudio: Anthony KramerCOLOR:Running ManSenior Colorist: Troy ThompsonColorist: Sean SullivanOnline Editor: Max RobertsSOUND DESIGN & MIX: LITTLE BEAR AUDIOMixer/Sound Designer: Ian Sorrentino

Director duo Jams x Bash speaks to LBB’s Ben Conway about translating nostalgia, love and legacy into a cinematic celebration of the show and its New York home.To celebrate the quarter-century milestone of the Broadway musical production of ‘The Lion King’, ArtClass’ Brooklynite directors Jamaal Parham and Bashan Aquart, known as ‘Jams x Bash’, filmed a branded short film, titled ‘Generations’, which weaves two stories from 1997 and 2022 to showcase the long-lasting legacy of the show.The emotional spot commemorates the production’s power to connect generations, bringing them together over a common love and appreciation of the visuals, music, and the story told in ‘The Lion King’. Intercutting from 1997 to the present day through some inventive filmmaking and editing (also done in-house at ArtClass), the film explores the bonds it has forged with millions of families globally and utilises the vibrant colours, characters and sounds of the production to embody the excitement of the show itself. Shot entirely on location in New York, the film also highlights the place that ‘The Lion King’ on Broadway holds in the hearts of New Yorkers.To discuss how they built a detailed world for the film’s characters, time travelling through intricate camera work between two time periods and the challenge of communicating the in-the-moment energy and grandeur of theatre, Jams x Bash spoke with LBB’s Ben Conway.

LBB> What was the initial creative spark for the ‘Generations’ campaign? What was the brief like?Jams x Bash> The brief from Disney was pretty clearly defined from the jump. They came to us with a story of mothers and daughters experiencing ‘The Lion King’ at two different points in the production's 25-year history, but had an open mind and wanted us to take that story and find the emotional promise. That really allowed us to do some worldbuilding. We really love worldbuilding, and we were stoked to have the space to dig into that level of detail. Our spark always comes from character, so the first step was exploring who these women are, who this family is, and what this show and this city means to them. We knew if we nailed the specificity of these women’s characters, the story would become universal and everyone could find something of themselves in their experiences.LBB> What were some of the visuals and ideas you had immediately? How was the ‘Generations’ concept developed with the similarities and differences between the mother and daughter’s experiences?Jams x Bash> The very first idea that jumped out at us was the Times Square sequence. We wanted to find a way to tell two journeys to the theatre as one story, without solely relying on split screen. The idea of the camera rotating and time travelling from 1997 to 2022 in one shot got us really excited. The visual language and tempo kind of built itself out from that initial inspiration. We also knew that we wanted to tell this story in these big widescreen close-ups. There is very little dialogue in the short, so the actors' faces have to tell the whole story in a very subtle way. Once that notion was locked-in, it became trying to find all the places that we could create these match cuts on Maya between ‘97 and ‘22 that would function as subtle breadcrumbs, hinting that she might be the same person. That was a lot of fun.LBB> Those transitions between the present and past are such inventive cuts - how were these shots achieved?Jams x Bash> We really love to mix traditional and modern filmmaking techniques in our work. The subway shot is a really good example of that. On set, we shot the scene twice on two different subway cars: one from the ‘90s and one that was more modern. Our DP, Mike Townley, rotated the camera from one side to the other as our AD, Jermaine Sumra, called a count to keep pace. It was like a makeshift motion control - something we absolutely would have used, but a rig of that size would not fit in a New York City subway car. So we had to be a little inventive.Once everything was captured on set, the folks at ArtClass post production stitched the two shots together so it looked seamless. From start to finish, that was probably one of our favourite sequences to shoot. We figured out how to get each of the characters in just the right spot, so Maya mirrored herself physically in the shot, while ‘97 Maya and Frankie mirrored each other emotionally. Then, we ended the sequence on the reflection of the 1997 skyline and the World Trade Center. Putting that all together and shooting it on a moving subway car - it was a mix of storytelling and character work, analogue techniques and subtle VFX. That's the kind of stuff that really gets us excited.

LBB> The set, lighting, and costume design must have been a big part of differentiating the two time periods - what decisions did you make with regard to these aspects? And who did you work with to achieve these different looks?Jams x Bash> From the treatment stage, we started building a document that was a place for us to collect all of our visual research. It had everything from colours, costumes and design elements to lighting references. If it sparked something in us, we would throw it in this document. It became our bible.Roxy Martinez-Michaud was our production designer, and we’ve worked with her for a few years, so she really gets our process. She does so much storytelling in the way she and her team build and dress these sets, and you really can see who these characters are by the life-layer that exists in their spaces. It was a lot of fun designing these rooms, picking the posters for the walls, or laying out the desktop of a computer in 1997.Pamela Shepard was our costume designer. And again, it came back to worldbuilding… everything was informed by the interior lives of these women - built on a level of authenticity that you don't always get to explore in commercials. We had a really interesting challenge in that late ‘90s fashion is really popular again, but Pam was great in finding ways to make ‘97 Maya feel authentic and not like someone inspired by TikTok trends in the present day.The client had so much trust in us and faith in the concept that they weren't overly noting the choices; the end result was something that felt very cohesive and whole, and not like a collection of compromises.LBB> Let’s get technical - what were your camera and lens set-ups like for this campaign? Did you work with any interesting/fun rigs or technology?Jams x Bash> We decided very early on that this story needed to be told on a big canvas. This production has run for 25 years, it's truly a landmark in a city full of landmarks, and we wanted to honour that staying power on an emotional and optical level. We tested a few cameras and briefly flirted shooting 35mm anamorphic. Ultimately we landed on the Alexa 65 with a mix of the DNAs, Prime 65s and the 65 Vintage series lenses. It's an amazing camera that renders skin tones beautifully and just captures emotion in a close-up that hits on a different level. It’s not a camera we would use for everything, but we did some pretty extensive testing… It really was the perfect tool to tell this story.We wanted a specific look and feel to the light because we were playing with this odd mix of late-fall daylight and that crisp warmth you get in New York. Those lenses could really capture that naturally without having to fake it in post. It's one of those little details that you know if you're a New Yorker. You know how the light feels and what that does to you emotionally. It was important for us to get that right. If it's fake, or the audience sees past the illusion, the whole thing kinda falls apart.LBB> ‘The Lion King’ is quite the IP to work with! As a hugely popular Disney property, how did you want to portray the musical in a modern and refreshed way after 25 years? And equally, how did you want to commemorate and celebrate its quarter century of history?Jams x Bash> For us, it wasn't as much about modernising it as it was about taking that feeling - that warm memory, nostalgia and love - and making it cinematic in a way that would be evident, even to people who are completely unfamiliar with the show. Literally everyone on the crew had a memory or connection to ‘The Lion King’ and we felt a responsibility to not only honour the brand, but to honour the experiences that millions of people have had when they walked through those doors.A quarter of a century is a long time. For us, the legacy was not only about the show, but about New York. This show has been here through some of the biggest ups and downs over the past 25 years. It’s part of the fabric of the city, and we wanted to firmly place the story here and highlight the growth and change over the life of the show.

LBB> The musical has an immense soundtrack - how did you incorporate the music into the spot?Jams x Bash> Our plan from the beginning was to drive this story with music, but in a way that comes off as surprising and unexpected. One of our favourite moments in the score by Barking Owl is when you hear the first hint of the ‘Circle Of Life’ melody. One of the notes that we kept trying to hammer home was to make the music less literal. We wanted it to feel like a memory, the way you experience the music in your head when you're remembering seeing the show with a loved one. The other element we knew we had to highlight was Rafiki’s call at the top of the show. It’s such a powerful moment when you hear and see it in person - it's the one thing you remember from the show, if nothing else. Our editor, Tyrone Rhabb, and the composers at Barking Owl really took that direction and ran with it.LBB> The musical is also well known for its captivating wardrobe and set design - how did you select which shots to include from the musical itself?Jams x Bash> We wanted to find the best way to communicate the grandeur and artistry of the production in a way that read cinematically. One of the hardest things with shooting Broadway is translating the two mediums. Theatre is so in-the-moment. The energy exchange between the performer and the audience is very much a real thing. You don't have that same energy exchange in a commercial, so for us, it was about picking the right moments that could communicate those feelings.LBB> Both the musical shots and the scenes of Maya and Frankie getting ready/travelling to the show are packed with vibrant colours, warmth, and light - how did you pack so much life and vibrancy into the film?Jams x Bash> The show itself has so much colour, life and texture. It was one of our driving creative principles to weave that throughout our story. It was a lot of fun creating colour stories for our characters that were inspired by characters in the show. Another reason we loved shooting on the Alexa 65 so much is that it’s really able to capture that broad spectrum of colour and texture, and have these elements work together in a harmonious way. In the end, our colourist, Mikey Rossiter, did a wonderful job unifying all these elements into a look that not only differentiates 1997 and 2022, but tells one cohesive story from beginning to end.

LBB> What were some of your favourite moments from directing the cast and the production process generally? Any fun stories or lessons learned that you can share with us?Jams x Bash> This was just a really fun shoot overall. Everyone came to work each day with the spirit of love and creativity. Almost everyone on the crew had a fond memory of the show, so we all brought our A-game to honour that. On top of that, it’s always a wild and insane experience shooting in New York City. It was important to us and the client that we actually shoot this story in New York. Actually being in the streets, at the theatre, and in the subway brings a lot of challenges, but also brings an authenticity and these happy coincidences that create a special kind of film magic that you can only get in New York.LBB> What was the biggest challenge you faced on this project and how did you overcome it?Jams x Bash> The biggest obstacle on any project is always time. We’re always fighting the clock - whether it's only having a limited time to shoot a sequence with the MTA, or finishing a scene before the sun comes up. There are those times when inspiration sparks and you want to capture that lightning in a bottle, but there isn’t always time. For us, it was about continually going back to that initial inspiration of the show and making sure our decisions and choices were constantly pointing towards that and the legacy.LBB Online

Director Bob Partington has one simple philosophy: if you think it, you can build it. Enjoy this clip from Bob's show 'Thingamabob" where he and partner Patrick Zung create a paper airplane catapult.

With over three decades of industry experience across film, television and commercials, Chris Eckardt’s multi-faceted career ranges from Creative Director, Director, Cinematographer, CG generalist & supervisor, compositor and on-set VFX supervisor.As one of the original founding members of Framestore in Los Angeles, he has since led some of the studio’s top creative campaigns including HP, Nike, Pfizer, Facebook, Google, Lexus, Honda, BYD, Pepsi, and location based supervision for the Chinese Winter Olympics handover ceremony in Beijing. His diverse history along with a strong understanding of all aspects of the production process has created a solid foundation and reputation in the industry.

Prior to Framestore, Eckardt held positions at Pysop in LA as a CG Supervisor, as well as Wavefront Technologies, Accolade, Biovision, Pixel Envy / Light Matters, VSL in Tokyo Japan, along with motion design studios such as Stardust, Prologue, and Imaginary Forces. He also co-founded a commercial and music video finishing studio, Moneyshots Post, claiming a VMA for Best Visual Effects on OutKast’s famed hit, “Hey Ya!”In addition to his industry experience, Eckardt is a commercial photographer with work in trades, books, and galleries. He has also been an educator for over 25 years focusing on the entertainment industry, and is currently a Professor at Otis College of Art and Design during which time he has received a Teaching Excellence Award.

Likely Story and ArtClass have partnered to release director Charlie Kaufman’s (I’m Thinking of Ending Things, Eternal Sunshine of the Spotless Mind ) latest short Jackals & Fireflies written and starring Eva H.D.The story, centering around a poem penned by Eva, features a nostalgic woman getting lost in the streets of her familiar New York while reminiscing a love that never came to pass. Her wanders lead her to dreamy, small and humble interactions, carefully displaying the wonder that lies within normal. Making peace with her past, she explores each corner of the city that helps her water growth onto old wounds and pave the way for patient new beginnings.On how the project came to ArtClass, Executive Producers Vincent Peone and Rebecca Niles responded that, “Last Spring Miriam Mintz reached out to gauge interest in collaborating with Likely Story to produce a Charlie Kaufman film. We audibly gasped, then promptly accepted.”The film was also produced by Gregory Zuk, Stefanie Azpiazu, and Charlie Kaufman and is in collaboration with Samsung’s new #withGalaxy campaign to highlight the work of cinematographer Chayse Irvin, ASC, CSC. #withGalaxy is an initiative recently put out by Samsung to help movie makers and lovers bridge the gap between dynamic devices, cinema technology and life long storytelling.“ArtClass lives at the center of art and commerce, which means we are in the business of delivering on the vision of both our directors and partners, and working with Charlie and Samsung was no exception.” - Vincent Peone, Executive ProducerArtClass is a creative production house of award-winning directors, producers, writers, editors and talent that work overtime to deliver high quality media with long lasting impact. Their goal is to continually push the boundary between everyday storytelling and expansive media for both agencies and brands. Past credits include leading a wide range of projects on every scale from traditional commercials to digital activations and long-form feature films with artistry at the forefront of creative excellence. They are industry leaders, change makers, and movie goers who both work, love, and devise in an ever evolving field.“Jackals and Fireflies presented us with creative problem solving opportunities,” reported Rebecca Niles. “We witnessed an expert storyteller (Kaufman) craft new approaches to new challenges without ever compromising on the magic. He disproves the notion you should never meet your heroes.”Executive Produced by Eva H.D., Felipe Dieppa, Vincent Peone, Rebecca Niles, Geno Imbriale2nd Unit DOP: Jac MartinezEditor: Robert Frazen, ACEProduction Designer: Kim JenningsCostume Designer: Chloe KarminMusic By: Brian KobayakawaCompanies: Projective Testing Service, Likely Story, ArtClass

Vincent Peone directs R&B star Brian McKnight in a new spot for Chili's, The Coca-Cola Company & Mischief @ No Fixed Address. The acclaimed singer waits tables and breaks into song remixing his 1999 hit "Back at One."Director: Vincent PeoneEP / Managing Director: Rebecca NilesEP, Live: Eric McCaslineHead of Production: Sparkle JonesProduction Manager: Kat GarelliDP: Patrick JonesLine Producer: Brian Bennhoff1st AD: Kimberly DanielsClient: Chili’s, The Coca-Cola CompanyAgency: Mischief @ No Fixed Address

Director Paul Trillo of next-gen production & post-production studio ArtClass has joined forces with America’s largest injury law firm Morgan & Morgan. The two powerhouses have teamed up in order to launch a brand new ad campaign that introduces the world to Miss More, a dynamic new face to be featured in the Morgan & Morgan advertising universe. Trillo brought to life the character of Miss More, with the thought that she expects more from life: more sprinkles, more wine, more cheese and even more from her personal injury law firm. In this latest campaign, Trillo puts forth a bold new creative direction for the brand, showcasing the high level of standardized service and expertise the firm delivers to its clients, while rewriting the typical advertising script that surrounds the personal accident injury world.As a cutting edge production and post-production studio, Trillo and the ArtClass team identified how Morgan & Morgan has consistently prioritized efficiency and accessibility, allowing clients to access its resources and services from the comfort of their homes. Trillo capitalized on the firm's aim to simplify injury law so individuals feel comfortable and cared for throughout the entire process, emphasizing how Morgan & Morgan is always investing more in the latest technology and talent for their clients. The firm not only has thousands of dedicated attorneys and staff and a state-of-the-art intake center, but through the Miss More campaign, Trillo endeavors to connect with the brand’s audience to demonstrate the firm’s innovative and reliable approach rather than focusing on factual data about their track record.Best known for his futuristic style, Trillo’s keen interest in technology, comedy, and visual design have led to the creation of several conceptual projects including the use crafting various new techniques that fuse live action and AI visual effects, which he pairs with his sharp directorial expertise to give him a creative edge in the space. Trillo commented on his creative approach and excitement about partnering with the firm, “The creative brief totally caught me off guard as law firm ads have a tendency to be a certain way. Morgan & Morgan have a history of this type of irreverent marketing and it was refreshing from a stylistic approach as they really pushed me to approach each scene from a unique and dynamic perspective. We had a blast developing the Miss More character, her history, the way she dresses, her decor and her craving for getting a little bit more out of life.”Director: Paul TrilloManaging Partner: Geno ImbrialeManaging Director, EP: Rebecca NilesManaging Director, Post: Corwin CarrollExecutive Producer: Eric McCaslineHead of Production: Sparkle JonesHead of Post Production: Brian KeeganProduction Manager: Kat GarelliProduction & Post Studio: ArtClassDP: Bryant JansenLine Producer: John Gilliland1st AD: Kevin BradyClient: Morgan & MorganEditor: James BogerPost Producer Offline: Savannah CannistraroPost Producer Online: Kyle WoodielColorist: Jenny Montgomery (Company3)Sound Engineer: TJ DumserAssistant Editor: Jon Salvia, Chris SaltersFlame Artist: Eric PascuaVO Talent: Alan Sklar

Watch Santa pull a fast one on Pete Davidson in MANSCAPED’s holiday campaign, “Season’s Groomings”, directed by Ryan Ebner, edited by James P.M. Lee.The award-winning writer & director who is well-known for his pinpointed casting as well as his dry comedy chops made the ideal choice for this tongue-in-cheek spot. Bolstered by Ryan’s directorial expertise and vision, Pete Davidson brought his unique comedic flavour to the MANSCAPED spot. Melding the comedic timing of Ryan’s work with Pete’s natural charisma that connects with all audiences, the collaboration yielded a perfect piece.

ArtClass welcomes Louise Palmberg as the latest addition to their roster of talented creatives. Hailing originally from Sweden and currently residing in New York, Palmberg is known for showcasing her love of food in each of her unique works. Constantly showing that her passion for food, cooking, and community transcend just personal hobbies, and flow into her professional career, Palmberg has worked with a range of clients from one-of-a-kind family-owned restaurants, to widely popular global chains.Working with both motion and stills, her eye for detail is seen clearly throughout her credits; Palmberg never fails to bring her deep understanding of the food industry to her work. One of her more recent projects is a prime example of the level of expertise she brings and the personal touch she always adds to her spots. Bacardi, one of the top rum brands across the globe, brought on Palmberg to promote their ‘Reserva Ocho’ as a drink that is ‘rich in flavor, and worth celebrating’ in alignment with the Academy Awards. Similar to the prestigious award ceremony, the spot exudes a luxurious feel, and Palmberg makes it a point to highlight each facet of the drink. By pairing the light noise of the ice clinking the glass with the sharp zesty twist of the orange peel, the message comes through clearly. Palmberg’s unique style is on display, as audiences find themselves inclined to celebrate with Bacardi’s “rare gold rum.”

Los Angeles, Inc. Magazine revealed that next-gen live action & post production studio ArtClass is included on its third annual Inc. 5000 Regionals: Pacific list, the most prestigious ranking of the fastest-growing Pacific private companies, based in Alaska, Hawaii, California, Oregon, and Washington. Born of the annual Inc. 5000 franchise, this regional list represents a unique look at the most successful private companies within the Pacific economy generating sustainable growth and jobs.“ArtClass has always emphasized the importance of running a multi-disciplinary model that meets the needs of each unique job fairly and consistently. By sticking to this strategy, we have experienced a two-year revenue growth of over 150% and continue to build our dynamic roster of talent and staff. We are thrilled to be included in Inc. Magazine’s Regional List and look forward to continued success,” notes Vincent Peone, Geno Imbriale and Vinnie Imbriale, founders of ArtClass.Complete results of the Inc. 5000 Regionals: Pacific, including company profiles and an interactive database that can be sorted by industry, metro area, and other criteria, can be found at inc.com/pacific“This year’s Inc. 5000 Regional winners represent one of the most exceptional and exciting lists of America’s off-the-charts growth companies. They’re disruptors and job creators, and all delivered an outsize impact on the economy. Remember their names and follow their lead. These are the companies you’ll be hearing about for years to come,” said Scott Omelianuk, editor-in-chief of Inc. magazine.ArtClass is a next-gen live action & post production studio founded by Emmy award-winning director Vincent Peone, veteran producer Geno Imbriale and Vinnie Imbriale. As a team of directors, producers, editors, writers, and designers, ArtClass is dedicated to creating boundary-breaking work with agencies and brands. With artistry at the forefront, ArtClass delivers branded content and projects of every size & scale from traditional commercials to digital activations and long-form feature films. Recent projects include the first commercial to fuse live action with AI visual effects for GoFundMe x AKQA, the viral spot for Peloton x Maximum Effort starring Chris Meloni, ESPN x Creed III featuring Michael B. Jordan and the 2022 Super Bowl LVI Commercial for Carvana.

Photographer Louise Palmberg

For the new Paramount+ Original Series ‘School Spirits,’ ArtClass Post created the opening title sequence in collaboration with the show’s creators created by Megan Trinrud & Nate Trinrud.“We took a collage approach to this project, combining practical pop-up book techniques, paper tears, and lighting effects with surreal digital compositions to set the tone for this unique new show” - ArtClass Creative Director Brandon ToddThe show is centered around Maddie (Peyton List) a teen girl stuck in the afterlife investigating her own mysterious disappearance. She goes on a crime-solving journey as she adjusts to school in the afterlife, but the closer she gets to the truth, the more secrets and lies she discovers.Client: Paramount+Creators: Megan Trinrud & Nate TrinrudPost Studio: ArtClassManaging Director: Corwin CarrollExecutive Producer: Sean OwoloExecutive Creative Director: Chris EckardtHead of Post: Brian KeeganCreative Director: Brandon Todd2D Design & Animation: Brandon Todd, Roanne Kim, Esther Kim, Eric Van BuskirkSenior Post Producer: Jonlyn WilliamsComposer: Anna WaronkerStills Photographer: Ed AraquelDirector of Photography (101-102): Craig Dean DevineDirector of Photography (103-108): Kamal DerkaouiDirectors:(101-102) - Max Winkler(103-104) - Oran Zegman(105-106) - Brian Dannelly(107-108) - Hannah Macpherson

No one knew how popular OpenAI’s DALL-E would be in 2022, and no one knows where its rise will leave us.By Will Douglas HeavenMIT Technology Review: It was clear that OpenAI was on to something. In late 2021, a small team of researchers was playing around with an idea at the company’s San Francisco office. They’d built a new version of OpenAI’s text-to-image model, DALL-E, an AI that converts short written descriptions into pictures: a fox painted by Van Gogh, perhaps, or a corgi made of pizza. Now they just had to figure out what to do with it.“Almost always, we build something and then we all have to use it for a while,” Sam Altman, OpenAI’s cofounder and CEO, tells MIT Technology Review. “We try to figure out what it’s going to be, what it’s going to be used for.”Not this time. As they tinkered with the model, everyone involved realized this was something special. “It was very clear that this was it—this was the product,” says Altman. “There was no debate. We never even had a meeting about it.”But nobody—not Altman, not the DALL-E team—could have predicted just how big a splash this product was going to make. “This is the first AI technology that has caught fire with regular people,” says Altman.Paul Trillo, a digital and video artist based in California, thinks the technology will make it easier and faster to brainstorm ideas for visual effects. “People are saying this is the death of effects artists, or the death of fashion designers,” he says. “I don’t think it’s the death of anything. I think it means we don’t have to work nights and weekends.”

Film by AKQA uses AI-generated art to illustrate events including Hurricane Ian and the war in UkraineAd Age: End of year wrap-up films have become a popular way for tech platforms to remind consumers of what's happened in their communities during the year gone by. We've already seen this year's efforts from the likes of Reddit, Google and Spotify, and now the donations platform GoFundMe has joined their ranks, with a film illustrating the positive impact that its donors have on the world around them.GoFundMe has for several years generated digital reports highlighting the impact of its donations, but this is the first time it's expressed them in a commercial. Created by AKQA San Francisco, the spot, titled "Help Changes Everything," takes its inspiration from a street mural but brings scenes from the mural to life using A.I. generated art, depicting some of the donors and recipients who have used the platform.The scenes depict real user stories from 2022, such as a veteran’s house being rebuilt after a fire, pets being rescued after Hurricane Ian, and Ukrainian refugees being reunited. The film ends by zooming out from the A.I-animated painted world to a completed street mural.The team worked with LA-based A.I. artist and director, Paul Trillo of ArtClass to generate the campaign’s visuals. The production included using a combination of DALL-E for composite layers of visual assets, and Stable Diffusion’s Image-2-Image for frame regeneration of a hand painted aesthetic.“We wanted to bring to life this mural in a way where every frame looks like a painting," said Trillo. "This style of animation used in this project is something that could not have been achieved even just six months ago.”"Strategically, we are aware that the end of year period is flooded with sentimental live action films, and ‘year in review’ data storytelling," added Tim McDonell, executive creative director at AKQA. "So we wanted to create something that would immediately help GoFundMe stand out. Knowing that A.I. is now at a point of generating beautiful art, we were confident that a painterly aesthetic would visually cut through on broadcast, as well as fit in more naturally as community content, versus sales-y advertising, on the audience’s social feeds.""Logistically, a traditional film or animation approach to creating such unique visuals wouldn’t have been possible for this brief," he added. "So to be smart with our timeline and production budget, we used a combination of several A.I. technologies to generate a massive scale of assets – literally making up every single frame of the film - that the team of artists could then leverage and manipulate more seamlessly in post-production. Working with the GoFundMe team, we aligned on a narrative that even the smallest contribution adds up to help change the world; hence the ‘building blocks’ visual feel of the film, showing worlds being bettered in real time."The audience for the campaign is the donors themselves who have made the difference, added Alex Anderson, senior director, brand and creative at GoFundMe."A donation is made on the platform every single second and the goal of this campaign is to thank all of those donors for their kindness and to remind them that every act of help adds up to make a meaningful difference."

Paul Trillo directs groundbreaking new campaign “Help Changes Everything” for GoFundMe x AKQA presenting an impressive step forward in AI-based animation. The street-mural-inspired film, illustrates the positive impact that GoFundMe donors have had on the world around them.The innovative film production used a combination of DALL-E and Stable Diffusion for composite layers of visual assets with a hand-painted aesthetic. It is a bold first from a major brand to take a leap of faith and base their large-scale campaign on AI-generative art.This emerging technology was combined with a live action shoot on a soundstage, where Trillo used a bespoke A.I. rotoscoping method for characters enhancing motion-based scenes to clearly shift from a negative to positive light, in order to represent the impact of donations and communities being transformed.“When AKQA and GoFundMe first approached me, I was immediately excited by the opportunity to use cutting-edge technology in a storytelling setting. There have been a lot of independent experiments but nothing yet has used AI animation in the service of telling real-life human stories, let alone for a major brand like GoFundMe.“Director / Creative Director: Paul TrilloManaging Partner: Geno ImbrialeManaging Director: Rebecca NilesManaging Director: Corwin CarrollExecutive Creative Director: Chris EckardtProducer: Julie SullivanHead of Post Production: Brian KeeganPost Coordinator: Rylee AxnerMachine Learning Engineer: John Steinmeyer2D/3D Animator and Compositors: Gil Gavish, Amit Chachek2D/GFX: Eric Van BuskirkFlame: Eric Pascua, David HannahEditor: James BogerAssistant Editors: Jon Salvia, Kahleb McAdamsClient: GoFundMeSr. Director of Brand & Creative: Alex AndersonAgency: AKQAExecutive Creative Director: Tim McDonellCreative Director: Emlyn Allen

New work from directors Jams x Bash starring Michael B. Jordan, Neil Everett and Stan Verrett for ESPN to promote the new Creed III movie. Edited by Tyrone Rhabb.Directors: Jams & BashManaging Partner: Geno ImbrialeEP / Managing Director: Rebecca NilesEP / Managing Director: Corwin CarrollEP, Live: Eric McCaslineExecutive Creative Director: Chris EckardtHead of Production: Sparkle JonesHead of Post Production: Brian KeeganProduction Manager: Kat GarelliProduction Coordinator: Hannah GrigereitPost Coordinator: Rylee AxnerDP: Bruce ColeLine Producer: T.J. FreemanProduction Manager: Tara RobertsProduction Coordinator: Wendy Helie1st AD: Don Johnson2nd AD: Myeka WilliamsClient: MGMAgency: ESPN CreativeSr. Editor: Tyrone RhabbAsst. Editor: Stephen DeaverPost Producer: Kanika OungVFX: Eric Pascua & Tyler KeithGrade: Mikey Rossiter At Rare MediumSound: PLUSHnyc

The Undefeated Presents: A Room of Our Own, a one-hour special that explores the connection that Black athletes have with music and the impact of that association in powering social movements directed by Jams x Bash. The program will debut Sunday, Feb. 28, at 12 p.m. ET on ESPN, with an encore presentation Sunday, March 7 at 4 p.m. on ABC.Musicians Freddie Gibbs, Jensen McRae, and Tinashe, all of whom are featured on The Undefeated’s “Music for the Movement” Volumes I and II, will host the special. Gibbs and Tinashe are among the headliners on Vol. II, to be released Friday, Feb. 26. McRae was featured in Vol. I of The Undefeated music series, which was released in October 2020.A Room of Our Own will focus on how music inspires Black athletes to drive change in their communities, and highlight some of the athletes who have been at the forefront of social change, using their voices to express the range of emotions – anger, outrage, hope and promise – in the struggle for racial justice. The program will combine narrative storytelling, taped conversations and roundtable discussions with performances of songs from The Undefeated music series. Trailer.“Music has the power to lift and inspire. We hope this special is a motivator to create art and create change wherever you are,” said Kevin Merida, ESPN Senior Vice President and Editor-in-Chief of The Undefeated.

A soundstage (Goya Studios in Hollywood, Calif.) provides the backdrop for performances by Alex Isley, who will cover People Get Ready, and McRae, who sings the Billie Holiday classic Strange Fruit – both songs on The Undefeated Music for the Movement Vol. I. Highlights:Washington Mystic guard Natasha Cloud – who decided to forgo the 2020 WNBA season to be on the front lines of social justice reform – has a conversation with McRae about finding her voice in protests and musicSinger/songwriter Darius Rucker (Hootie & the Blowfish) speaks with The Undefeated senior writer Jesse Washington about protests and patriotismPortland Trailblazers guard Damian Lillard talks about the music that motivates him and how growing up in Oakland impacted his lifeAward-winning sports columnist and The Undefeated’s William Rhoden pens an essay on the exploitation of Black bodies in sports and musicSportsCenter anchor Stan Verrett hosts a conversation with songstress Alex Isley, daughter of former Isley Brothers singer Ernie Isley, on the impact of the Black Power Movement.A roundtable discourse with gymnasts – Trinity Thomas and Nya Reed (University of Florida), Kiya Johnson (LSU), Lynnzee Brown (University of Denver) and Margzetta Frazier (UCLA) – on why representation matters.A Room of Our Own is directed by the Brooklyn, N.Y., based award-winning team of Jamaal Parham and Bashan Aquart, popularly known as Jams x Bash. Executive producers are Michael Fountain, senior coordinating producer, and Sharon Matthews, director for original content and production, both with The Undefeated.The project is one of the signature programs in ESPN’s company-wide Black History Always content initiative, powered by The Undefeated. A Room of Our Own is The Undefeated’s 13th television special since its launch in May 2016. By combining town halls on topical community conversations with in-depth examinations of key trends and issues affecting the Black community, The Undefeated has produced timely and impactful programming on ESPN linear television networks. Highlights: A Discourse on Athletes, Responsibility and Violence in Chicago (August 2016); A Conversation with The President: Sports, Race and Achievement with President Barack Obama (October 2016); and a look at the emerging prominence of African-American quarterbacks in the National Football League (February 2020).In addition, Time for Change: We Won’t be Defeated examined racial injustice in America (June 2020), The Stop: Living, Driving and Dying While Black (October 2020); and the critically acclaimed look at Tiger Woods complex racial identity in Tiger Woods: America’s Son last November.The Undefeated is ESPN’s multiplatform content initiative exploring the intersection of sports, race and culture. The digital hub, TheUndefeated.com, which launched in May 2016, combines innovative long-form and short-form storytelling, investigation, original reporting and provocative commentary to enlighten and entertain African Americans, as well as sports fans seeking a deeper understanding of black athletes, culture and related issues.In addition to its cutting-edge content, The Undefeated seeks to be a thought-leader on race, sports and culture in the country – convening insightful forums to discuss and debate topical issues affecting sports and race in America.ESPN Pressroom

VARIETY: Congratulations to Director Bridey Elliott on her new short film Mirror Party going to Sundance.The film is about two friends that role-play a breakup conversation featuring cast members Angela Trimbur, Bridey Elliott and Billy Scafuri.Directed by: Bridey ElliottWritten & Produced by: Angela Trimbur & Bridey ElliottCast: Angela Trimbur, Bridey Elliott, Billy Scafuri

WE ARE SEXY is a new short film by director Emily Elizabeth Thomas. The project is an intimate, punk, and gutsy representation of the wide spectrum of female sexiness featuring a 60 year old female bodybuilder, recently transitioned trans woman, stripper, femme LGBTQ couple, retired ballerina, plus-size dominatrix, and a femme sapiosexual. Each of these daring women have been asked “what makes you feel sexy?” and their responses represent the different tempos, textures and identities of female sexuality, with no holding back. Edited by Tyrone Rhabb.

Next-Gen production and post-production studio, ArtClass is expanding its impressive roster with the addition of New York director Matvey Fiks.On the heels of wrapping his highly anticipated documentary feature film, What A Strong Wind, Fiks is looking forward to bringing future projects to the limelight with the support of the ArtClass team. Consistently pushing the limits of narrative creativity, Fiks previously brought his directorial expertise to the film Sky Breaking Clouds Falling, an intimate film-essay that touches on the nightlife of New York City amidst the global pandemic, captured perfectly by Fiks’ inventive lens angles and the unique vantage point of a backseat window. Brought to life by the iconic music of folk guitarist Mason Lindah and the instinctual creative decisions made by Fiks, the film earned an award through the Young Director Awards. On top of his contribution to Sky Breaking Clouds Falling, Fiks also boasts credits including the short film Douggy, which received multiple nominations at different film festivals including the Golden Pardino - Leopards of Tomorrow at the Locarno International Film Festival; the Audience Award at the Moscow International Film Festival; and the Narrative Shorts Program at the New York Film Festival.“I’ve had the pleasure of working with Matvey over the past few years in all kinds of capacities - we’ve traveled the world creating bespoke work for a variety of clients” adds ArtClass Managing Director, Rebecca Niles. “Simply put, he is one of the special ones. From the moment we met, I knew we were incredibly creatively aligned, and our track record has proven as such. His craft, attention to detail and conceptual style of directing is second to none, and the ArtClass family welcomes him with open arms, we couldn’t be happier.”Fiks’ work is acclaimed across the music video and commercial space directing memorable campaigns for world renowned brands including Gucci, Versace, Louis Vuitton, Genesis, Zara, and Instagram. He showcased his unique talent with Odds and Ends, a short film that highlighted the work done by street photographer Daniel Arnold. Fiks crafted the piece for Vogue, and through his artistic and authentic storytelling of Arnold’s work, earned The Webby People’s Voice Award. Fiks’ work and resume speak for themselves, with each of his projects unveiling a new level of his artistry and creative talent.“ArtClass has been my home for some time already through different off-roster projects and I can't be more excited to finally make it official,” noted Fiks. “The team has been a genuine supportive force of my creative vision especially with the upcoming release of my film projects.”The passion and vision Fiks has for the stories he tells is evident throughout his work. Both Fiks and the entirety of the ArtClass team are thrilled to see the projects they produce in partnership with one another. Fiks’ work thus far is perfectly aligned with ArtClass’ creative vision, and with this new era of collaboration with the rest of the team, he looks forward to bringing his stories to new heights.

Director Matvey Fiks

Director Matvey Fiks

Go behind the scenes with Directors Jams x Bash on the set of The Lion King “Generations” as they discuss their connection to the creative and how they captured the enchanting effect the iconic show has had on the city over 25 years.

Director Shahana Khan’s latest project, ICU, is an exercise in the fleeting nature of our everyday landscape.

What appears to be the surface of a distant planet or the aftermath of an apocalyptic pandemic, happens to be the empty lot next to the director’s home in Los Angeles. Before the property was put on the market, massive oil tanks dating back to the 40’s were dug out, leaving an epic ditch in the middle of a residential neighborhood.

The next day the ditch was permanently filled. As temporary spaces consume us and elude us, they ultimately disappear but ICU.

In their latest spot "Glow Up" for SoFi Bank, Bonnie & Alison direct actress Sarah Hyland, known for her roles in Modern Family and Love Island. The spot follows Sarah as she relaxes poolside and announces the brand's new sweepstakes challenge.

Disney Theatrical Productions has partnered with ArtClass’ Jamaal Parham and Bashan Aquart, also known as the Brooklyn-based directing duo, ‘Jams x Bash,’ to collaborate on a branded short film, "Generations", the first of its kind for a Broadway production in celebration of The Lion King’s historic 25th Anniversary on Broadway.The emotional spot commemorates the production’s legacy, forged over a quarter-century: connecting generations, bringing them together over a common love and enchantment of the visuals, the music, and the story of The Lion King. The commercial celebrates the spell cast by the show as it takes us on a time jump, intercutting from 1997 to present day, showcasing the longevity of the production and the bonds it has forged within untold millions of families. At the same time, the film celebrates Broadway and the impact of live performance on audiences, particularly New Yorkers. Shot entirely on location in NYC and featuring the current cast of the show, the film acts as a celebration of the triumphant return of visual storytelling and the arts as a whole.Jams x Bash approached the creative, created in conjunction with next-gen production and post-production company ArtClass, with the idea that The Lion King is integral to their understanding of community.While two Broadway shows have previously reached a 25-year milestone, The Lion King marks several historic firsts. Never before has a show in its 25th year been playing in so many productions around the world simultaneously and placed in the Top 5 grossing Broadway shows this long - nearly 1,300 consecutive weeks and counting. Currently, 115,000 people enjoy the show in nine productions on three continents every week. There have been 27 productions over the life of the show, seen by a staggering 112 million people. That is more than the combined populations of Canada, Greece, Sweden, Holland, Denmark, and Australia.“Over the past 25 years, we have heard countless stories from audience members around the world about their experience seeing The Lion King with someone they love. From one generation to the next, the show has almost become a rite of passage for many families,” said Angelo Desimini, Vice President, Marketing, Publicity, Sales, and Education, Disney Theatrical Productions. “With this spot, we set out to bring these memories to life.”“The feelings we have towards The Lion King as a whole made its way into our project,” shared directors Jams x Bash. “Over the 25 years it’s been on Broadway and in the world, it’s consistently been an experience of something really beautiful. This piece is probably the most genuine and heartfelt thing we’ve ever crafted and there's so much about how we feel about shared experiences embedded into the short film.”Previously, Jams x Bash have directed high profile campaigns for established brands including ESPN, HBO, SoundCloud and Vogue. The two have collected a resume of work that spans from commercials, documentaries, music videos and social content working with talent such as Robert DeNiro and Bryan Cranston. Jamaal and Bashan have worked side by side for the last decade, and gone on to produce numerous bodies of work, drawing in audiences from around the world.Disney Theatrical Productions and Jams x Bash are excited for the world to celebrate alongside them as The Lion King continues its reign welcoming guests on Broadway and around the world.The Lion King “Generations” Credits:Directors: Jams x BashManaging Partner: Geno ImbrialeEP/Managing Director: Rebecca NilesEP/Managing Director: Corwin CarrollExecutive Creative Director: Chris EckardtDP: Michael TownleyEditor: Tyrone RhabbProduction & Post Studio: ArtClass

Vincent Peone directs the teaser for the new Peacock Original Series “Mrs. Davis” about the world’s most powerful AI from Damon Lindelof and Tara Hernandez.VULTURE “Hey, babe. Someone’s on the phone for you. She says she’s a ‘Mrs. Davis’? Is that one of your friends’ moms or something?” Actually, no — it’s an AI that’s controlling the world. The teaser for Peacock’s upcoming original series Mrs. Davis shows people being contacted by a mysterious person without explanation, but why don’t we just let the press release speak for itself? “‘Mrs. Davis’ is the world’s most powerful Artificial Intelligence,” it reads. “Simone is the nun devoted to destroying Her. Who ya got?” This bonkers-in-the-best-way premise is from the combined minds of Damon Lindelof and Tara Hernandez. If you’re wondering how we got here: Lindelof created The Leftovers, and Hernandez is known for working on shows such as The Big Bang Theory and Young Sheldon. Betty Gilpin (GLOW) will star as the nun, and Jake McDorman (Limitless) is playing her ex who hates Mrs. Davis. The series will be streaming starting on April 20. Until then, keep an eye out for that ChatGPT.

Next-Gen production and post-production company ArtClass has welcomed director Kristyna Archer to the roster. The acclaimed director has led many illustrious projects including work with UberEats, Google Play, Capital One, and Pantene.Archer is an interdisciplinary artist who works across film, photography, and design with a passion for creating thought-provoking, visually compelling, work through a lens of hyperrealism. Her recent accolades include Best Fashion Film by the London Fashion Film Festival and Best Concept Film by the Canadian International Fashion Film Festival for her fashion short "Musical Chairs: A Battle Royale." She received nominations for the Next Generation Award by the Berlin Commercial Awards; her quarantine film "A Beginner's Guide to Quarantine from a Born-Again Optimist" was featured as a part of Shiny Picks and various film festivals internationally. She has won 5 Telly awards for her Pantene Pro-V "Ban the Bun" #Buntervention spot and her MommyBahama.com project brought home a Webby, an ADC award, and was featured in Adweek.“I am over the moon about signing Kristyna to the ArtClass roster,” said ArtClass’ Managing Director Rebecca Niles. “I’ve had my eye on her for years, connecting at various touch points throughout our careers, with the timing never being quite right. Kristyna’s work is a love letter to what we are building here at ArtClass; she has dynamic range, her voice is unique, and she brings such an important point of view to the table – a level of artistry that I could not be more excited to support and expand together.”“I reconnected with Rebecca after knowing each other for years, and it felt quite kismet,” shared Archer. “Her new chapter growing ArtClass the past few years crossed with the new chapter of my career. I was very impressed by ArtClass’ forward-thinking production model with a roster of talent progressively pushing boundaries all in their own right, and I felt right at home. As I’ve been witnessing Rebecca make all the right moves to build the best team of strong EPs and reps, it got me even more excited, and I can’t wait to see what the future holds for us.”Other successful campaigns that Archer has contributed to include SanoFi, Beekeeper’s Naturals, Olly, and Ninja. At ArtClass, she will spearhead projects across a variety of clients on behalf of the innovative studio.

Celebrating Nascar's 75th Anniversary of the Daytona 500, Ritesh Gupta directs legends Dale Earnhardt Jr. and Alex Bowman in his new spot for Ally and Anomaly.Director: Ritesh GuptaEP / Managing Director: Rebecca NilesExecutive Producer: Sonya KlingerExecutive Producer: Eric McCaslineHead of Production: Sparkle JonesProduction Manager: Kat GarelliProduction: ArtClassDP: Eric KoretzLine Producer: Brian Bennhoff, Genna Long1st AD: Chad Schwartzkopf, Rowdie CarlsonClient: AllyAgency: Anomaly

Director Kristyna Archer

Director Kristyna Archer

Using a mix of practical and VFX, Director Adam Azimov's latest spot for Lexus RX is a journey into a world of bioluminescent plankton.Agency: DentsuProduction: Holiday Films