Davis Guggenheim After directing Al Gore's environmental documentary An Inconvenient Truth and Barack Obama's official biography film, A Mother's Promise, filmmaker Davis Guggenheim was plenty used to following famous people around and trying to get them to open up for his camera and microphones. When he came up with a rough concept to make a new film to pay homage to the electric guitar and to do it by spending intimate time with rock stars, however, he soon realized he was entering an entirely different world. For one thing, he had no idea how to structure his story or with whom to tell it, and for another, he desperately wanted to stay away from the traditional rock-documentary concept at all costs.

He did have what he says he thought was an interesting format in mind for the movie now known as It Might Get Loud. It was an idea that percolated out of his mind from a different, failed documentary he investigated a few years ago: an idea to compare and contrast artists' methods, styles, personalities, and personal histories. Jimmy Page Photo: Alba Tull. Courtesy of Sony Pictures Classics. “I've never really discussed this, but I tried to raise money about six years ago for a documentary that I pretentiously called Work of Art,” Guggenheim says.

“The emphasis was on the work of artists; to put three different types of artists together—perhaps a painter, a novelist, and an actor—and have them talk about their process, and intercut them. I thought that by contrasting them, you might learn about the universality of the artists. I was totally into the idea, but from the beginning, it was a nonstarter. I failed to raise the money or get anyone interested.

But when this subject came along, I thought, ‘Let's see if we can do what I was trying to do then for this one: get three guitarists and put them together and compare them.' ' The difference is, I thought there needed to be some kind of an event to build the movie around, to bring them together.”. Guggenheim picked three legendary guitar players from different generations and music styles and put them together: Led Zeppelin's Jimmy Page, U2's The Edge, and The White Stripes' Jack White. But even after reaching out to each man and securing their interest, he still had to formulate a methodology for making his film. What he says he most certainly didn't want was “to map their biographies like a VH1 Behind the Music-type story, where you follow every album, tell vignettes from their rise to fame. The third act is always their crash, the drug overdose or car wreck or whatever. I didn't want to do that at all.”.

Jack White Photo: Alba Tull. Courtesy of Sony Pictures Classics. The process Instead, Guggenheim decided to simply “trust the process,” meaning he would talk to each man in-depth and let those conversations lead him to find pieces of their individual stories relating to their love of the guitar and music that were compelling enough to go out and try to illustrate with newly shot and archival moving images.

He later would build pieces of those stories around an unscripted summit meeting between all three of them (they had never formally met prior to the making of the documentary) on a gigantic sound stage on the lot in Burbank, Calif. Guggenheim's method for launching his process was to first meet with each man and create multitrack audio recordings of their 2-hour-to-4-hour conversations and use those as “the film's backbone,” according to producer Lesley Chilcott. Those audio interviews gave Guggenheim “a way to find the things the three men had in common, and their differences,” Chilcott says.

The Edge Photo: Alba Tull. Courtesy of Sony Pictures Classics. Once the original interviews were done, they served as the foundation for a creative exploration process.

Guggenheim and editor Greg Finton began cutting up the interviews as if they were making a radio show and intercutting them with low-resolution videos. A road map resulted that gave Guggenheim and his team enough guidance to start rolling both film and digital cameras as they set out to tell the three men's stories (shot mainly with Super 16, with some Super 8 as well) and then bring them together for the summit (shot with cameras onto HDCAM SR tape). “Davis called me in as soon as he completed the audio interviews, and I'd say that for the first month that I worked on the project as the editor, we had almost no footage of our own whatsoever,” Finton says. “It was the first time in my career where YouTube played a big part in slapping the film together.

I would take audio pieces—many of which ended up in the final movie—and find images to put over them. It was a unique way of working, but it let me get the ball rolling and sort of bounce ideas around about how we envisioned the thing once we started getting footage.” Guggenheim adds that the YouTube angle should not be overlooked.

Over the course of time, if vintage footage of one of the three men made it into the early cut, his team would go hunting for the original source footage and rights to that footage, but it was the early, ultra¬low-res YouTube footage that got them moving forward with an actual story. The director says the experience, albeit unintentionally, illustrates a new way of doing documentary research. “YouTube sort of was our research department; it really changed everything,” Guggenheim says. “We used it also on Inconvenient Truth. It used to be, if you wanted footage, you called a news organization and filed a request for footage with keywords, and four weeks later, you got some of the footage you asked for if you spent a lot of money.

Greg and I were making this story come alive ourselves and didn't want to wait for a researcher, so as we got ideas, we just went on YouTube and found things that were quite remarkable in terms of archival footage. There is one clip of Jack White playing an early concert with bandmate Meg White in Detroit that was perfect. We found the kid who filmed it several years ago with a tiny videocamera, and he didn't even know how to license it to us. Many such clips were useful facsimiles as we set out talking to hundreds of sources about footage. Dozens of clips in the movie were originally located on YouTube.”. It Might Get Loud Director Davis Guggenheim brought his subjects—guitarists Jimmy Page, The Edge, and Jack White—together for the first time at a summit meeting on the gigantic Warner Bros.

Soundstage 16 in Burbank, Calif. That summit served as the binding element for his documentary, which pays homage to the electric guitar.

Stories and summit As personal stories for each man emerged, Guggenheim arranged for crews to film them in their own environments—their homes, recording studios, and old haunts. White's story was filmed at his home in Tennessee by cinematographer Erich Roland, while The Edge and Page were filmed by various cinematographers in the United Kingdom.

Along the way, a technical methodology emerged that Guggenheim says helped him main¬tain his theme of contrast. He filmed most material from the personal stories on Super 16 film stock, but he used five Sony F23 HD cameras to capture the summit footage and recorded all audio to a mobile production truck. “My sense was that the movie would be more powerful if you create a visual contrast between things,” Guggenheim says. “It's like with cooking—you want something sweet and you want something sour.

So the Super 16 felt richer to me, more personal, which was good for their stories. It evokes more feelings—it can be moody, deeper, darker, richer, with shadows and things. Whereas, at the summit, the HD stuff makes you feel like you are right there with them.

It's crisp and clean. By contrasting them, you get this great effect of the two senses of time—that they are coming together at the summit in realtime, now, while they are reflecting back on their personal stories, which is evoked on Super 16 from their personal narratives.”.

Roland also filmed the three men in quiet, candid situations as they prepared for the summit. For all those segments, he chose (11x4.7 for wide angles and 22.85 for long shots), attached to his film camera using an adapter. It Might Get Loud sound and music was edited at the Warner Bros.

Dub 12 mixing stage in Digidesign Pro Tools (v. 7.4) and mixed through a Digidesign Icon control surface. Photo: Bob Beresh “I use the Canon HD lenses for just about everything I do, whether I'm shooting HD or film,” Roland says. “What that does for me is allow me to get very used to two lenses, unless I need something very long, very wide, or very fast, which are unusual circumstances. In documentary situations, you have no focus puller anyway, so these lenses make it easy for me to do it myself simply, and that gives me a better chance of keeping these guys in focus with a lens I'm very familiar with. “Working on a documentary, and working with Davis, you have to be prepared to get up and go at any time. There really was no master photography plan, so these lenses make it easier for me to be flexible.

Since these are three very different men, you want to film them each differently. Jack White is very theatrical and has a certain style, so you want to shoot him theatrically.

The Edge is completely the opposite—he'll sit quietly for hours and work with sophisticated electronic equipment, so the lens wants to get closer to him, and you don't want to shoot him from the same angles as you would Jack White. And then Jimmy Page is older, but he's elegant and stately and dependable. He won't launch himself out of the frame like Jack White would. So we gave him a more formal frame—he's earned that kind of respect, to be honest.”.

DP Guillermo Navarro supervised the summit shoot using the F23s outfitted with 2/3in. HD Cine lenses. The plan for the summit, compared to the personal stories, was relatively high-tech. At the suggestion of supervising sound editor and rerecording mixer Skip Lievsay, the production chose the largest sound stage on the Warner Bros.

Lot (soundstage 16) for its superior acoustics, set up a central living-room style area for the three guitarists to interact and a lounge to the side, and then proceeded to mic almost every square inch of the stage. They then shot the meeting with five F23s, but they did not switch cameras live, broadcast style. Instead, they recorded picture at 1080/60p (1920x1080) over dual-link HD-SDI fiber to HDCAM recording decks.

Under supervision from the shoot's technical manager, Pete Rizzo, the production built a complete control room and video village on the stage, along with a tape room. Meanwhile, interview audio was captured to tape through lavalier mics on each guitarist. Performance audio (all music) was recorded to a production truck. Recording engineer Guy Charbonet and his team recorded all music through an 8058 mixer into converters, where it was then isolated to hard disk using a system to organize the material for the looming remix. “It was both a film-type shoot and a record-recording session,” says Lievsay, a frequent Coen brothers collaborator who also served as a consultant throughout the production process, in addition to his postproduction duties. “They had coverage of instruments and amplifiers to record directly into Pro Tools, but also radio mics and boom mics to get quality voice recordings as they chatted. That let the three guys walk around and chat, and a lot of candid stuff came out of it, with Edge and Jack White just asking Jimmy Page questions when they happened to be taking a break.

They could hang around, sit on couches, and chat, and we could capture all that, and then we recorded their music as though we were making a record.” Left to right: Jack White, Jimmy Page, and The Edge improvise a version of The Band's “The Weight” during taping of their summit meeting. All visual elements were captured by five Sony F23 digital camera systems recording to Sony SRW-1 HDCAM decks, while performance audio was separately recorded to a mobile production truck. Photo: Eric Lee, 2008. Courtesy of Sony Pictures Classics. Cutting and finishing The ongoing editing process was, at times, laborious.

Finton eventually found himself with reams of material to deal with after going weeks with almost no visuals at all. In addition to the film from the personal stories, and the hours of material from the summit, he and assistant editors Mike Azevedo and Troy Rackley constantly grappled with new vintage footage rolling in, frequent new versions and formats for that material, and thousands of still photos. Azevedo says that during the finishing process, the production constantly labored to up-rez stock footage masters to D5 tape, running sometimes ancient and often degraded imagery from a variety of sources through a converter box in order to clean the material up. He says that most of the archival footage arrived on DVD or even VHS tapes. “For editing, we would export footage as QuickTime files and import those into the,” Azevedo says. “When it came to the finishing process, we experimented with a number of ways to deal with the sources, since many of the DVDs and VHS sources we thought were going to be temporary turned out to be the best-quality master we could get. Some masters were captured, de¬interlaced, and upconverted directly in the system.

Others were captured into the Avid and de-interlaced and upconverted in. The Teranex upconversion process was part of this experimentation with finding out what worked the best for each source. But during finishing, we were continually upconverting stock footage one way or another and turning over updated reels to every day.” The editing team cut the film in the same building as Company 3, Santa Monica, Calif., using three dual-core s running (v.2.7.7). Material was stored on a 3TB RAID system running SAN software. Azevedo says the production found FibreJet more cost-effective than running storage, and more convenient than relying on shuttle drives. Dailies and inhouse screenings were usually viewed in the editorial facility, projected directly through the Avid into a projector.

The biggest editing challenge was how to logically weave together the three separate individual stories, the summit, and a handful of animations designed by Kate Anderson and created by, which also did the film's title work. The animations were designed to illustrate anecdotes from the audio tapes that had no film or video footage associated with them. One example is an animation of what White's boyhood bedroom looked like after he moved out his bed and all other furniture not directly related to music and acoustics. Another is a chart that provides a visual for The Edge's complex explanation of how sound travels from amplifiers and around a room in different situations. Related Links “The only thing we knew going in, and believed in fervently, was that we would not cut between the stories until each individual story was ready and existed as good stories on their own,” Guggenheim says. “So we spent months just building a Jimmy Page story, an Edge story, a Jack White story. Only when those were done did we sit down to figure out how to put them all together.” “That was a tough thing to do,” Finton says.

“My first cut was assembled almost in a linear fashion, but it was dull—Jimmy shows the first guitar he ever bought and tells that story, and then Edge tell his, and then you know Jack will be next, and the audience will be five steps ahead of the film if you do it like that. So the linear stories were just a starting point, and then it was just a matter of trying different things to make them fit together emotionally.” Material from so many sources provided a challenge for colorist Rob Sciarratta at Company 3, as he tried to blend the imagery as seamlessly as possible. Video from the summit had subtle grain additions, for example, to moderate its sharp contrast from the film footage it intercuts with.

Also, White's face presented temptations for Sciarratta to bring out his big guns within his color-correction software, since the musician prefers to wear Goth-style pancake makeup. “Some of the Led Zeppelin footage from the 1970s—it was like from a Tron movie or something, with heat patterns on the film because it was so beat up,” Sciarratta says. “We also had bad DVD or VHS material up-rezzed to HD or film space, and whenever you do that, you get certain positives, but also a few negatives that can happen from it that we had to address. But the end result was what counted. It's a documentary, and all this footage was made in a less-than-ideal world, so we had film with grain patterns and then we had HD video.

And it was all shot in different places by different people in different lighting conditions. But because it is a documentary, that is what you would expect. All that different stuff should not have the exact same vibe in terms of contrast and saturation. So we tried to clean it up only in the sense of it not being distracting, and to be as true as we could to whatever medium the material was shot in. Resolve is so state-of-the-art, though, that we could do some pretty cool things—isolate stuff, do endless.

“Downsized” on WE tv Premieres November 6, Saturday 9pm 8c They went from living large, to living paycheck to paycheck after the economy tanked. 2 struggling parents, 7 kids They’re doing withoutbut they’re doing it together. Cyn opsis 10.27.10 Good morning. It’s Wednesday, October 27, 2010, and this is your first early morning briefing, coming to you from LA! As always, if you prefer to watch this morning’s news instead of reading it, click. Tonight’s Premieres: BBC America: I’ll Do Anything at 9p DIRECTV: Friday Night Lights at 9p Syfy: Hollywood Treasure at 10p & 1030p A CYNOPSIS MESSAGE FROM HISTORY.

MORE GOOD STUFF Yesterday, FOX sent a letter to Cablevision demanding Cablevision should “cease and desist encouraging theft of copyrighted material.” FOX based its demand on a report in yesterday’s New York Daily News, citing Cablevision’s apparent direction to its subscribers to visit illegal websites to watch copyrighted FOX shows including NFL games and MLB playoffs. FOX further said, “Copyright law exists to protect the very creative freedoms that fuel our industry. As both a creator and owner of intellectual property – not to mention major sports franchises Cablevision knows better and should immediately call an end to this unlawful activity.” Due to their ongoing retransmission-consent deal dispute that could prevent Cablevision customers from viewing the World Series, Cablevision President/CEO James Dolan also sent a letter late yesterday to FCC Chairman Julius Genachowski reconfirming his and his company’s desire to enter into a mediation process. Dolan said he would be at Genachowski’s office tomorrow to meet with News Corp.’s Chase Carey in case the Chairman wants to call a meeting. Dolan’s letter in part says, “Based on the negotiations to date, I can assure you that only with your assistance in bringing the parties together in your office will productive, good faith talks occur. And I will commit to you that I will come ready with new, constructive offers, prepared to reach agreement tomorrow.” Also late yesterday, FOX released this statement responding to Cablevision: “In a filing with the FCC today, Fox responded to Cablevision’s allegations. We are confident that the FCC will review the information before the commission and find that we have acted with the utmost good faith.

“Fox once again calls on Cablevision to return to the bargaining table and resume constructive negotiations.” ABC canceled its frosh legal drama The Whole Truth starring Rob Morrow and Maura Tierney. ABC will allow production for the original 13 ordered episodes though the network has not said if all episodes will air or not. PBS offers an intimate look at the magical world of circus performers and their stories with a new six-part docu-series titled Circus, premiering November 3 at 9p (check local PBS affiliate listings). Produced by Show of Force, the same company behind the PBS series Carrier, this series goes inside the Big Apple Circus company following the owners and performers inside the big top and out. The series gives viewers a never-before-seen look at how a traveling big-top show operates. Circus will additionally have an interactive website and social media component to further examine what it is like to be a circus performer and offer consumers history about the circus in America. Centric and SMIRNOFF introduce viewers to a cadre of popular DJs in the new original competition series Master of the Mix, set to debut November 3 at 1030p.

Hosted by producer Just Blaze, the show pits well-known DJs against each other with one winning $250,000 in cash and prizes, including a custom-made SMIRNOFF bottle. DJ Kid Capri will oversee the judges’ booth and hip-hop artist Biz Markie will make several guest appearances to work with the DJs throughout the season. The series is created by SMIRNOFF and produced by GTM. Ben Silverman serves as executive producer with his newly-established production company, Electus. BET/Centric also are executive producers. National Geographic Channel goes to the state of California and follows California Game Wardens in the new series Wild Justice.

These real-life law enforcement officers take on everything from dangerous fugitives and urban gangsters as they protect wilderness territories and animal habitats. Wild Justice premieres November 28 at 10p and later the series will move to its regular time slot of Wednesdays at 10p on December 1. Wild Justice is produced by Original Productions for the National Geographic Channel.

Discovery Channel will now premiere the new original series Wreck Chasers rather than TLC as previously announced. Discovery Channel launches the series November 1 at 8p that follows a family-owned towing company in Philadelphia. New episodes of Wreck Crashers will air on Mondays at 8p and 830p on Discovery Channel. The series is produced by MY Tupelo Entertainment. Science Channel opens a second season of Meteorite Men on November 2 at 9p. The original series is co-hosted by Geoff Notkin and Steve Arnold as they search and find evidence of visitors from outer space.

DIY Network wants more of The Vanilla Ice Project, giving the weekly half-hour series a second season. The series stars 1990s pop sensation Vanilla Ice (a.k.a. Robert Van Winkle) highlighting his personal passion and talent for home renovation. Season one premiered with 10 episodes on October 14 and airs Thursdays at 9p.

The first season finale is scheduled to air December 16 at 9p. TV Guide Network said its six-night Weeds marathon tallied more than 12 million viewers who watched back-to-back episodes of the comedy series airing October 17 to October 22 from 9p to 2a. The marathon also marks the network’s highest rated week in its history among A18-49, delivering an average coverage rating of 0.14 in this demo from 9p to 2a and 126,000 viewers. TV Guide Network airs Weeds each Sunday starting at 9p in a two-hour block consisting of four half-hour episodes. Weeds is produced by Lionsgate Television in association with Tilted Productions. Lionsgate also co-owns TV Guide Network along with One Equity Partners.

A&E Network moved the premiere date of its new real-life series Strange Days with Bob Saget to November 30 at 10p with stacked episodes. HISTORY’s new series debut of American Restoration on Monday at 9p and 930p averaged 3.7 million total viewers and 1.8 million among A25-54 and A18-49. Leftfield Pictures produces the series for HISTORY. PRODUCTION & DEVELOPMENT FX is moving forward with the live-action comedy series Wilfred headlined by Elijah Wood and Jason Gann, ordering 13 episodes to debut summer 2011. Wilfred is based on an Australian series of the same name and it was adapted for FX by David Zuckerman who serves as writer for the pilot and as Executive Producer/Showrunner. Wood stars as Ryan, an introvert who struggles to find both personal and professional happiness until he meets Wilfred (Gann), who is described as part Australian Shepherd, part Russell Crowe on a bender. Everyone else sees Wilfred as a dog though Ryan thinks of him as a man dressed in a dog suit.

Also co-starring in the series is Fiona Gubleman as Jenna, Ryan’s beautiful next door neighbor and owner of Wilfred. The series is produced by FX Productions and executive producers include Rich Frank, Paul Frank and Jeff Kwatinetz of Prospect Park, along with Joe Connor and Ken Connor of Renegade, the producers of the Australian version of Wilfred.

Gann will be the series’ co-executive producer. FOX approved the pilot production of Locke and Key from DreamWorks TV and executive producers Alex Kurtzman and Roberto Orci. FOX has already given the project a series commitment though this now confirms a pilot episode will be produced. The one-hour pilot script, based on the graphic novel series, is being adapted by Josh Friedman, creator of Terminator: The Sarah Connor Chronicles for FOX. Twentieth Century Fox Television is producing Locke and Key along with DreamWorks TV and Kurtzman and Orci’s company, K.O. Paper Products. Bravo ordered a 10-episode music competition series titled Going Platinum hosted by singer/songwriter Jewel with former American Idol judge Kara DioGuardi serving as judge.

Going Platinum will follow 12 aspiring singer/songwriters as they compete for a $100,000 prize and a recording contract with RCA/Jive and a publishing deal with Sony. True Entertainment is producing the series slated to premiere next year. CMT has a new reality show in the works called Meet the In-Laws hosted by comic Pauly Shore. CMT gave the show a 10-episode order where recently engaged couples will spend a week alone with their future in-laws to get to know them better.

Shore will be involved as a play-by-play commentator and will step in if needed. CMT plans on premiering the show in January 2011.

Casting Call: Generate Productions, United Entertainment Group and Doron Ofir Casting in association with Style.com is searching for the next voice of fashion. North of Madison is offering this casting opportunity to chronicle your life and personal world as one of New York’s creative voices, minds and points of view to work with Style.com on all things style for a TV series. Candidates should be 21 to 28 years old and have a legitimate outlet to express your love or displeasure for current trends. Those interested should apply online at or send an email to and include your name, phone, photo and a short bio. Interviews with chosen candidates will take place the first week of November in New York City.

Casting Call: Irwin Entertainment is producing a non-airing pilot for Animal Planet and is seeking people that have unhealthy relationships with their pets. If you know someone who hoards animals, has an attachment disorder, engages in ritualized behavior or is a taxidermist, the show would like to meet and help them. Email recent photos and your story to. RATINGS Top Ten Basic Cable Ad Supported Network Rankings among A18-49 for the week of: 10/18-10/24/10 Primetime (000) Total Pgm Day (000) TBSC 2139 TBSC 807 ESPN 1364 ADSM. 726 USA 1075 ESPN 721 MTV 805 NICK 613 HIST 696 NAN.

581 AEN 609 USA 529 TNT 605 TNT 499 SYFY 594 MTV 403 DSNY 590 DSNY 378 CMDY 589 HIST 370 Source: Turner Research from Nielsen Media Research Data. All ratings based on Total U.S. Television Universe of 115,900,000 homes. = Network broadcasts less than 51% of minutes in a 24 hour day. Primetime listing only includes those networks broadcasting more than 51% of the primetime hours (M-Su 8p-11p) Top Ten Basic Cable Ad Supported Network Rankings among Total Viewers for the week of: 10/18-10/24/10 Primetime (000) Total Pgm Day (000) TBSC 4844 NICK 2251 USA 2852 TBSC 1645 ESPN 2592 NAN. 1556 DSNY 2510 DSNY 1552 FOXN 2082 USA 1283 NAN 1663 ADSM.

1267 HIST 1535 ESPN 1258 TOON 1475 FOXN 1165 TNT 1392 TNT 1112 MTV 1300 TOON 1093 Source: Turner Research from Nielsen Media Research Data. All ratings based on Total U.S.

Television Universe of 115,900,000 homes. = Network broadcasts less than 51% of minutes in a 24 hour day. Primetime listing only includes those networks broadcasting more than 51% of the primetime hours (M-Su 8p-11p) Top 10 Cable Programs among A18-49 (000) for the week of: 10/18-10/24/10 ESPN Titans/Jaguars 5558 TBSC Yankees-Rangers Game 6 4858 TBSC Rangers-Yankees Game 4 4285 MTV Jersey Shore 2 4075 TBSC Rangers-Yankees Game 3 3510 EN Keeping Up with the Kardashians 2895 MTV Teen Mom 2 Finale Special 2780 TBSC Rangers-Yankees Game 5 2270 TBSC Inside the MLB 2232 CMDY South Park 2093 Source: Turner Research from Nielsen Media Research Data. All ratings based on Total U.S. EXECUTIVE MOVES Gilbert M. Grosvenor, Chairman of the Board of Trustees of the National Geographic Society, announced his retirement at the end of this year. Gilbert has served in this role for 23 years.

Fahey, President/CEO was appointed Chairman/CEO and Timothy T. Kelly, President/CEO of the Global Media Group will move into the position of President of the National Geographic Society.

Both of these appointments become effective January 1, 2011. Gilbert will become Chairman Emeritus and will also be Chairman of the National Geographic Education Foundation. Luminosity Marketing elevated Lamont Swittenberg as Managing Director to supervise all client work and daily operations. Lamont will additionally oversee as Marketing/Business Development for the company on an interim basis. The boutique media and marketing communications research company also promoted Jill Dehnert to Marketing Coordinator. Manhattan-based creative advertising firm, MAUDE hired eight new staffers and promoted one as the company experiences recent growth:.

Damion Waters advances to Senior Interactive Designer and Digital Creative Team Leader up from Interactive Designer. Chris Knight joins as Associate Creative Director in charge of developing interactive, broadcast and non-traditional campaigns for the company’s clients. Chris will also work on behalf of MAUDE’s sister agency, Media Storm LLC in the areas of creative media executions, strategy and client presentations. Chris reports directly to Marc Klatzko, Managing Director, Creative and Marketing. Most recently, Chris was a freelance copywriter.

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James Kloiber becomes Interactive Designer, reporting to Damion Waters. James joins from FOX Interactive Media. Anna Hecker was hired as a Copywriter, reporting to Chris Knight. She joins from Night Agency where she served as Creative Strategist. Puneet Sabharwal takes on the role as Art Director, reporting to Marc Klatzko.

Puneet previously worked as Creative Director at TBWA/India. Margaret Muhlfelder will become Account Director, joining from McCann Erickson. Margaret reports to Marc Klatzko. Luree Lee is a new Designer at the agency, reporting to Puneet Sabharwal.

Kathrin Ayer becomes a Developer, reporting to Damion Waters. Jenny Friedman was named Account Coordinator, reporting to Margaret Muhlfelder. A CYNOPSIS MESSAGE FROM INSTITUTE FOR MEDIA AND ENTERTAINMENT. What’s Your Digital Strategy?

If you don’t have one, your business might not have a future Learn to develop strategies that will help your company stay competitive no matter what new digital disruptions come out in the market. Nov 30-Dec 2, 2010 in New York City. Limited enrollment. Previous participants of IME programs include executives from Time Warner, Disney, NBC Universal, Google, Microsoft, Viacom, Discovery, and others. This day in History: 1927 – The first newsreel featuring sound was released in New York Answer to Yesterday’s Trivia Question: This talking rabbit was the central character in this network’s debut season. What was the name of the rabbit and the show he was on? FLOPPY on WB’s UNHAPPILY EVER AFTER Kudos to: Tara Costello-Outdoor Channel/NY; Annie Leitenberg-Katz Media Group/NY; Annette Scherr-Telerep/NY; Ed Goode-Connelly Partners/Boston; Vaughn Ericson-Bernstein Rein/Kansas City; Will Givens-Fox 5/San Diego; Dan Haberer-Creo Ent/Playa del Rey; Lorrie Shilling-DirecTV/El Segundo Today’s Trivia Question: This single season mid 1990s western series featured father and son actors in the lead roles.

If it helps, they lived on the Flying Tumbleweed Ranch. What was the series? (Email Cynthia@cynopsis.com with your answer and be sure to include your name, company, city and time zone. Unofficial rules: Only the second four correct answers from each time zone will be mentioned; and once you’ve been mentioned in any of the Cynopsis editions, you can’t be mentioned again that calendar week.) Later — Cyn 10.27.10 Cynopsis Ad Sales: Mike Farina – VP/Business Development & Sales – 203-218-6480 / Classifieds – Trish Pihonak- 203-381-9096 / Member of Interactive Advertising Bureau (iab) To subscribe to any Cynopsis edition(s) click. To unsubscribe, click the button at the end of this email.

All of the broadcast and cable Cynopsis 2010 Upfront segments contained within our regular daily editions are recapped in their entirety in the section of the website. Cyn opsis CLASSIFIEDS – For More classifieds, visit the classifieds page. ATTENTION JOB RECRUITERS FOR THE TELEVISION AND ADVERTISING INDUSTRY – send us your contact information so we can begin to build a database for referrals. We get people all the time around the country asking us for names of local recruiters. Help us out – send us your contact information, name, company, address, phone, email and fax. NY and LA are great, but we also need names of firms in Chicago, Dallas, Miami, Atlanta, DC, and elsewhere.

We have people to send you! Email your info to.

JOB OPENING: SR. MGR,RESEARCH-MUSIC CHOICE/NY: Support mktg,prgmg & product initiatives across multi platforms w/ actionable rsrch. BA/BS, + 6-8 yrs relevant media rsrch exp. (11/3) JOB OPENING: RSRCH MGR/NJ: NJ media agcy looking for exp’d Rsrch Mgr with strong Television bkgrd.

Proficient in Nielsen, Kantar, IMS, Simmons & Excel. Strong communication skills a must. Contact: (11/3) JOB OPENING: SR CREDIT ANALYST/20 TH TV/LA: 5-7yrs collection exp.

For contacting past due cust. & resolving payment discrepancies. Will maint records& prepare rpts.(EOE) Info/apply: Email: (11/3) JOB OPENING: ANALYST, MASTER DATA MNGMNT/NBC/NYC/Temp to Hire: Report data quality metrics; ongoing data quality audits for NBCU Advrtsng Sales props. 3 yrs exp in AdSales & 1 yr in database mgmt. Apply: (11/3) JOB OPENING: SALES POWERHOUSE in MEDIA, TV & FILM/NY: 7+ years of Domestic and International sales in Film & TV with strong Rolodex of clients, with a sharp and professional presence. Email (11/3) JOB OPENING: EDITOR/NYC: Edit PBS documentary on being LGBT in America. Need 10+ years serious docu exp.

Must know After Effects and be very technically proficient on AVID PC systems. Letter/resume to (11/3) JOB OPENING: ACCOUNT EXECUTIVE, DIRECT RESPONSE/Hallmark Channel/New York: 3+ yrs network sales exp w MS Office proficiency. See full posting and apply @ (11/2) JOB OPENING: SALES DVLPMNT MGR/ CaptionMax: Exp Sales only, Contacts ent media, ntwrk prgmng a plus. Increase caption bus, negotiate rates. NYC, Burb or Mpls. Res: (11/2) JOB OPENING: PROJECT MGR, PRODUCTION FACILITIES/TV One LLC/Silver Spring MD: Mng, schdlng, orgnzing & providing frontline maintenance for editing & graphic design.; knwldg of Avid Media Composer & Avid Unity.

Visit: (11/2) JOB OPENING: DIRECTOR, STRATEGIC INSIGHTS & RATINGS RESEARCH/MTV/NYC: 7 + yrs TV ratings research/data analysis exp. EOE/M/F/D/AAP apply (11/2) JOB OPENING: VP, DIGITAL MARKETING/MTV/NYC. 10 + yrs exp consumer mktg in Ent; Exp.

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Implementing successful online, social media, tune-in & direct mail mktg campaigns a must. EOE/M/F/D/AAP apply (11/2) JOB OPENING: MGR, DIGITAL INTEGRATED MARKETING/MTV/NYC: 5+ yrs Digital ad sales marketing/agency exp. In media/entertainment; BA req. EOE/M/F/D/AAP (11/2) JOB OPENING: DIR, INTEGRATED MARKETING/MTV2/mtvU/NYC: 7+ yrs exp.

Creating multiplatform marketing programs at a TV/media company. Apply (11/2) JOB OPENING: MGR, BUSINESS DVLPMNT/NY: Identify/evaluate potential business opps in dig media (online, mobile, gaming, social, etc.). 3+ yrs of exp. In Bus Dev (Internet/media co). Search Req#: 1652 (11/2) JOB OPENING: SR ANALYST/RSRCH MGR/WME/LA: Provide research support to company/client initiatives. Strong analytic and writing skills required. 2-3+ yrs research exp w/ Nielsen software a must.

Apply: (11/2) JOB OPENING: ADMIN ASST/COORDINATOR/WME/LA: Directly support Research Dept activity. Strong organizational, phone and client servicing required. Software intensive.

Apply: (11/2) JOB OPENING: AE/GSN/Chicago: promotes/sell inventory on GSN must be extremely organized and driven. Excellent media math skills and comprehension of media terms are a must.Knwldg MS software req’d (11/2) JOB OPENING: SALES ASST/OFFICE MGR.

Co/Norwalk, CT: Energetic multi-tasker. Proficient all MS Office apps. Knwldg of Quickbooks a +. Great entry-level oppty to learn many aspects of the business. Resume: (10/30) JOB OPENING: MANAGER, BRAND MARKETING /CNBC NJ: Min 5 yrs brand mktg exp. Develop strategic plans, creative direction, media opportunities, & 3rd-party alliances to achieve business goals.Apply @ Job # 1269842 (10/30) JOB OPENING: ASSOC PROMO SCHEDULING /IFC/NYC:Execute on-air graphic &promo strategy.

Maximize inventory & viewer retention. Supv log assembly. Scheduling/programming &Gabriel exp #12354BR (10/30) JOB OPENING: EXEC PRODUCER /Seattle: Oversee content & dir of a daily sales driven daytime talk show on KING5 TV. Exp producing daytime TV, live events, creating content w/ advertiser clients. View job/apply: (10/30) JOB OPENING: DIR, BUS AFF/ DISNEY JR/LA: Min 5+ yrs comb law frm/netwrk/studio exper; deep knowl guild/union agrmts, IP; solid neg/draft/mgmt animat series, live-act/script, realty, TV movie deals. Req 269593 (10/30) JOB OPENING: PREDITOR/NYC Wanted: Strong Avid & storytelling skills. 5 yrs in reality.

Must be creative, decisive, practical & fast. A self-starter who thrives on being part of a team. Resumes: (10/29) JOB OPENING: METADATA QC COORDINATOR/iNDEMAND/NYC: Proof/approve/disseminate monthly movie schedules for VOD. BA + 2 yrs exp in cable.

Resume to: (10/29) JOB OPENING: METADATA UPDATE DISTRIBUTION COORDINATOR/iNDEMAND/ NYC: Entry level Oversee metadata update process & pitch content. BA + 1 yr corp exp. Resume to: (10/29) JOB OPENING: DIR. MARKETING SOLUTIONS/Golf Channel/FL: 7+ yrs mktg. Solutions/ mktg. Integration exp.

For developing key adv initi, a, t, ives and partner fulfillment/activation (10/29) JOB OPENING: DIGITAL AE/GSN/NY: Proven track record; 7+ yrs exp. Must have ext. Roster of relationships w/ key client, media, gen.

Agency decision makers. Send resume, c/l to: (10/29) JOB OPENING: MGR, MEDIA PLAN’G/ST Louis: Dvlpmnt/implmntation of strategic media plans for specific AB-In Bev brands. 4+yrs media plan’g or related exp.

Strong strategic/ analytical thinker. Apply: Job ID 2010-901 (10/29) JOB OPENING: MRKTG AD SLS ANALYST/HSW/DC or ATL: supports mktg for multi. Digi assets & maint/executes ad flights; 2+ yrs digital mktg & ad ops exp req.

Strong Excel a must. (10/29) JOB OPENING: DIRECTOR OF RESEARCH/ National Geographic Channel/DC: 8+yrs TV /other media rsrch. Expertise in Nielsen, MRI, Simmons & primary/sec research. Programming/Mktg focused. Apply: FNG0000024 (10/29) JOB OPENING: EXEC ASST/DISH Network/NY: Support 2 VPs Nat’l Ad Sales.

Proficient in Microsoft Office, travel/expenses/office mgmt. Detail oriented. College degree required. Related experience a plus. (10/28) JOB OPENING: UNIT PUBLICIST/NYC: Nat’l synd TV show. Strong media relations a must. Ensure proper exec of all publicity efforts, incl pitching/writing.5+ yrs exp TV req’d.Apply: search code 204418 (10/28) JOB OPENING: EXECUTIVE PRODUCER/New York: Develop new editorial content, provide oversight of network series & prgms.

Apply: (10/28) JOB OPENING: DIR OPERATIONS/A&E /New York: Oversee operations & prod mgmt in Brand Creative Dept. 5 yrs prod mgmt exp. Apply: (10/28) JOB OPENING: MGR STRATEGY & BUZ OPS/NYC: Support Strategy & Bus Ops team & SR mngmnt in dvlpmnt of short- & long-range strategies, & dvlp/evaluate new bus opps. Bach deg 3-5yrs exp pref mngmnt/strat. Apply: (10/28) INTERNSHIPS – These positions are for credit only – nobody gets paid here. These ads are always posted for free, and students work for school credit only.

For more information on the specs for posting an Internship ad, email Trish at. SITUATION WANTED ADS, POSTED BY THOSE LOOKING TO BE HIRED There is no charge for placing your Situation Wanted ad for more information contact Trish Pihonak at SITUATION WANTED: EIC/LINE PRODUCER looking for next project be it series or staff.

Docusoap, lifestyle, live-to-tape, studio, competition, recreation, animation, clip, etc. Email: (11/3) SITUATION WANTED: ANIMATION PRODUCER/PRODUCTION MANAGER /NY: 20+ years experience in the US and UK, former senior manager at Walt Disney Feature Animation. Staff or Freelance.

Email (11/3) SITUATION WANTED: MEDIA SALES/MARKETING MANAGER /LA: 15+ years experience in educational, documentary, advertising media sales,product,biz development. True Closer!!!!! Equalizer mixer download.

(11/3) SITUATION WANTED: LA – Music Clearance Consultant looking for project based work. Reasonable rates. 20 years+ experience. Other rights clearance and production work available upon request. Email: (11/3) SITUATION WANTED: SALES CLOSER in MEDIA, TV & FILM /NY: 7+ years of Domestic and International sales in Film & TV with strong Rolodex of clients, with a sharp and professional presence. Email (11/2) SITUATION WANTED: MEDIA SALES/MARKETING STRATEGIST /NY: Extensive exp in all forms of media. Smart consultative seller.

Can identify new niche markets and profitably re-purpose content. Contact: (11/2) SITUATION WANTED: VERY SR. Very Reasonable Rates. Copy, content, concepts, creative + strategic, all media.

Hire me and you will be happy. Visit for FREE samples. (11/2) SITUATION WANTED: RESEARCH DIR/SALES STRATEGIST – 20+ yrs media, Nielsen, Hisp, research, sales, and presentation experience. Email: (11/2) SITUATION WANTED: EXECUTIVE ASSISTANT position film/TV (NY): 10 years experience: Interned for a President, Executive Assistant to SVP/VP/film director/celebrity (11/2) SITUATION WANTED: WRITER/PRODUCER/POST-PRODUCTION SUPERVISOR: 15+ yrs. Network/cable/syndication credits.

Current focus: multicam live-to-tape. LA based, will travel.

(11/2) SITUATION WANTED: RIGHTS CLEARANCE PROFESSIONAL(NY): 20+yrs exp.researcher & contract negotiator Intellectual Property commercial licensing: Music/Clips/Photos/People/etc.Copyright/TM/PD research specialist (10/30) SITUATION WANTED:Dedicated & Experienced ADV. SALES PLANNER (NY): Sales proposals, resolving client discrepancies, quarterly post analysis, special sales service projects, expert computer skills. Contact- (10/28) SITUATION WANTED: MEDIA BUYER/MEDIA SALES/Central PA– 20+ years experience in both media buying and selling National, regional and local TV, Radio, and Internet. Passion for the biz, and hard working!!! (10/28) SITUATION WANTED: FISHMONGER (LA): Deprived son of a genetically modified turnip chasing dreams of selling gravlax.

Alternatively, will consider TV comedy writing positions. Contact: (10/28) E-mail or call Trish Pihonak at 203.381.9096 for rates and specs for Job Openings. Are you looking for a job?

Post your Situation Wanted Ad here — Email for specs. WHAT’S ON TONIGHT – WEDNESDAY, OCTOBER 27, 2010 ABC: The Middle, Better With You, Modern Family, Cougar Town, The Whole Truth AZTECA: Cosas de la Vida, Al Extremo, La Loba CBS: Survivor Nicaragua, Criminal Minds, The Defenders CW: America’s Next Top Model, Hellcats FOX: World Series: Game #1 730P-CC ION: Without A Trace, Without A Trace, Criminal Minds NBC: Undercovers, L&O: SVU; L&O: LA PBS: Secrets of the Dead, Great Performances, PBS Previews: Circus TELE: El Clon, Previo Futbol, Futbol Mexicano: Guadalajara vs. Toluca UNIV: Hasta que el Dinero Nos Separe, Soy Tu Duena, Don Francisco Presenta Cynopsis Media LLC 65 Lantern Road Stratford, CT 06614 Ph: 203.381.9096 Fx: 203.386.8855 All outgoing e-mails are scanned and sent out virus free. Copyright Cynopsis 2010 To unsubscribe from future mailings, please.