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U2 and Bono Adapt To Changing Times
By Nekesa Mumbi Moody, AP Music Writer
October 23, 2009 -- Even while maintaining its status as one of the few musical acts that can still
fill stadiums, U2 is struck by how quickly its world is changing — musically and
politically. "Music exists in an environment where people are multitasking, and
I think that's a very different environment," says Adam Clayton, who grew up
appreciating jazz but realized "it was for people who took life a certain way,
but it wasn't part of the modern world for me. "I worry that the world of
rock 'n' roll that I grew up in is destined to end up that way."
Agency Production: New RoostsHeads Of Production Reflect On Their Recent Decisions To Move To Different Shops
By Robert Goldrich
August 17, 2007 -- David Verhoef found affirmation that he came to the right place—having recently joined Publicis & Hal Riney, San Francisco, as director of integrated production—when he saw a large picture of chief creative officer Roger Camp in the agency entry hall. The photo, put up to honor Camp's victory in the agency ping-pong tournament, was riddled with graffiti by most everyone in the creative department.
A Good MixLost Planet's Jennifer Dean Goes Short For Glamour
By Kristin Wilcha
October 07, 2005 -- "As an editor, you're kind of like an archeologist," says Jennifer Dean, who cuts at bicoastal Lost Planet. "Everything is ahead of you, and you're just slowly dusting away, revealing different layers as you go.
SPECIAL REPORT: AGENCY OF THE YEAR_ On The Spot
By Fred Cisterna
December 03, 2004 -- The U.S. offices of TBWA/ Chiat/Day—New York, Los Angeles and San Francisco—have each produced striking creative in the past 12 months. The Los Angeles office continues to come up with breakthrough work for Apple, spectacular spots for Sony PlayStation, stylish ads for Nissan and Infiniti, and great re-introduction work for the Energizer bunny.
SPECIAL REPORT: AGENCY OF THE YEAR_ Best
December 03, 2004 -- The home office in Los Angeles has attracted worldwide attention with its iPod spots for Apple, while the Ball Park Franks campaign featuring Frank "the Grillmaster" has shifted the way we look at hot dogs. San Francisco's basketball-oriented spots for adidas are putting the brand into territory previously reserved for Nike, and the offbeat work for FOX Sports Net is likely to continue its award-winning ways. And in the breakthrough performance of the year, the New York office has shed its unremarkable standing with high-profile spots for Nextel, Skittles and Absolut.
By Carolyn Giardina
November 26, 2004 -- High definition didn't exactly make a graceful entrance into the production and broadcast worlds—in fact, it stumbled badly. But today, that course is changing. Availability of HD content has grown significantly, and interest in HD consumer sets is
By Fred Cisterna
November 12, 2004 -- Troublesome whistling that turns into sweet harmony, sound design that evokes theme park thrills, and a graceful, subtly uplifting score describe the top three picks for SHOOT's Fall Music and Sound Design Top 10 chart: Holiday Inn's "The Noses," Nike/Nikegrid iron.com's "The Michael Vick Experience" and Sharp Aquos' "More to See."
November 05, 2004 -- As the advertising business changes with marketers looking to attract eyeballs in an increasingly fragmented media, production companies will need to expand their offerings beyond just spot production. To find out how shops view the changing and evolving ad arena, SHOOT asked production company owners and execs the following questions: As the spot market continues to grow ever more competitive, in what ways is your company diversifying? What will the commercial production company look like in five years? What projects have you completed outside the spot arena, and were these projects client-direct or done via an agency? Below are their answers:
By Carolyn Giardina
October 29, 2004 -- Cinematography tools—both film and digital—are developing at an increasingly rapid pace. In order to understand and interpret the possibilities offered by these new choices, members of the American Society of Cinematographers (ASC) Technology Committee plan to initiate a series of comparisons using all available film and digital cinematography cameras, as an-