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阿什利
案例简介：射击游戏编辑安东尼 · 马里内利补充道 SITCOM-LIKE 佳能新的在线活动的奇思妙想 纽约，纽约 (2013年2月21日) ShootersNYC，创意立体内容的公司, 广告公司电通美国公司聘请编辑安东尼 · 马里内利为佳能美国公司的一系列新的在线网站提供编辑和后期制作 s。 a. 公司，强调公司的世界级客户服务和支持;并展示了他们自己的 house内部人才。 要查看新的活动，请转到: http://shootersnyc.com/spots/canon-michael/ 由导演蒂姆 · 比伯拍摄，现场展示了真正的佳能技术支持代表，分享了如何解决不同情况的技巧，以及佳能客户服务闪回中的演员, 全部由 ShootersNYC 编辑 Anthony Marinelli 编辑。据电通集团创意总监布鲁诺 · 科尔博称: 这些在线视频横幅的目标不仅是提供有用的提示，并展示卡农服务和支持的价值, 而是以一种难忘而有趣的方式这样做。在编辑这三个视频之前，我们和安东尼谈过，他立即意识到有必要在幽默和我们想传达的更多技术信息之间建立平衡。我们还必须锁定我们的佳能代表在弗吉尼亚州切萨皮克的呼叫中心拍摄的初始拍摄，这样我们在芝加哥的演员就可以直接与他们的阅读唇同步。安东尼建造了这些地点的外壳，创造了一种即插即用的格式，让我们确切地知道我们在芝加哥需要覆盖什么。 音乐一直是编辑的重要元素，Marinelli 也通过寻找主题曲来奠定基础, 并开发了一种结构，允许他从技术支持代表切入到 caller 的来电者，同时只使用演员表演下的佳能代表 VO 来讲述通话。我一看到木板，就听到了我脑海中的音乐，并确切地知道我想用哪条赛道，哪条赛道又轻又古怪。这确实为编辑过程定下了基调。让真人和演员混在一起是独一无二的，但马里内利以前也面临过一些事情。与经验丰富的演员一起，他们接受了训练，所以他们几乎每次都在对话。对于真实的人，你需要看每一个片段，有时需要把几个片段的对话剪成一起。 从第一次粗略的剪辑开始，我们就注意到安东尼给这个概念带来了一部情景剧，并为所有的景点巩固了一种独特的格式，丹达苏的科尔博补充道。由于所有演员的表演都与演员的表演进行了唇形同步，因此需要进行无休止的搜索，并试图看看什么效果最好。安东尼也能够巧妙地设定速度，为一个有点复制密集的地方，并开发了一种流程，保持了有趣和事实之间的平衡，这些事实将故事进行得很漂亮。 对于 ShootersNYC 常务董事/EP Jeff Beckerman 来说，鉴于综合公司提供的资源不断扩大，该项目代表了 ShootersNYC 与客户合作的方式。网站上的斑点是由射击运动员的高级调色师珍妮特 · 猎鹰修正的，由射击运动员的烟雾艺术家马克 · 朗尚完成的。贝克曼说，马克在合成一些棘手的镜头方面做得很好，客户对结果非常满意。 虽然我认为安东尼非常适合这个项目，但电通制片人史蒂夫 · 阿马托总结道，他多年来与马里内利合作过很多次。他是一个理解表演细微差别的编辑。我们希望员工看起来很有帮助，但也很有趣，他在编辑中认出了这些时刻。安东尼的工作总是以人为中心。我早就知道我和他一起工作了。如果你在寻找情感，他总是会找到那个角度。他总是发现微笑，有趣的时刻，以及这些人所说的真相。
阿什利
案例简介：SHOOTERSNYC EDITOR ANTHONY MARINELLI ADDS SITCOM-LIKE WHIMSY TO NEW ONLINE CAMPAIGN FOR CANON New York, New York (February 21, 2013) ShootersNYC, the creative multi-dimensional content company, and Editor Anthony Marinelli were tapped by ad agency Dentsu America to contribute editorial and postproduction for a new series of online spots for Canon U.S.A., Inc., highlighting the companys world-class Customer Service & Support; and featuring some of their own in-house talent. To view the new campaign, go to: http://shootersnyc.com/spots/canon-michael/ Shot by Director Tim Bieber, the spots showcase real Canon Technical Support Representatives sharing tips on how to troubleshoot different situations, as well as actors featured in Canon Customer Service flashbacks, all edited by ShootersNYC Editor Anthony Marinelli. According to Dentsu Group Creative Director, Bruno Corbo: The goal of these online video banners was to not only provide helpful tips and demonstrate the value of Canons Service & Support, but to do so in a memorable and interesting way. Before editing the three videos, we spoke to Anthony and he immediately saw the need to create a balance between humor and the more technical information we wanted to convey. We also had to lock-in on initial takes from our Canon Representatives shot at their call center in Chesapeake, Virginia, so our actors in Chicago could lip sync directly to their reads. Anthony built the shell of the spots that created a plug-and-play format that let us know exactly what we needed to cover in Chicago. With music always an essential element for the Editor, Marinelli also set the groundwork by finding a theme-song-like-track, and developed the structure that allowed him to cut from the Tech Support Rep to the caller, while using only the Canon Reps VO under the actors performances to recount the call. As soon as I saw the boards, I heard the music in my head and knew exactly which track I wanted to use which was light and whimsical. It really set the tone for the editorial process. Having real people mixed with actors was unique, but something Marinelli has faced before. With seasoned actors, they are trained so they hit their dialogue almost every time. With real people, you need to look at every take and sometimes cut together several takes of dialogue. From the very first rough cut, we noticed Anthony brought a sitcom like sensibility to the concept and cemented a distinct format for all of the spots to follow, adds Dentsus Corbo. Since all of the actors performances were lip-synced to the reps takes, it required an endless amount of searching and trying to see what worked best. Anthony was also able to artfully set the pace, for a somewhat copy intensive spot, and developed a flow that kept that balance between the fun and facts that carried the stories along beautifully. For ShootersNYC Managing Director/EP Jeff Beckerman, this project is representative of the way ShootersNYC is empowered to collaborate with clients, given the expanded resources available through the integrated company. The web spots were color corrected by Shooters Senior Colorist, Janet Falcon, and finished in the Smoke by Shooters Smoke Artist, Mark Longchamps. Mark did a great job compositing some tricky shots, and the clients were very pleased with the results, says Beckerman. I think Anthony was perfect for this project, concludes Dentsu Producer Steve Amato, who has collaborated with Marinelli many times over the years. He's an Editor that understands the nuance of performance. We wanted the employees to come across as helpful, but also entertaining, and he recognized those moments in the edits he made. Anthony's work is always very people-centric. I've known that for the long time that I've worked with him. If you're looking for emotion, he will always find that angle. He always found the smile, the funny moment and with it the truth of what these people were saying.
Ashley
案例简介：射击游戏编辑安东尼 · 马里内利补充道 SITCOM-LIKE 佳能新的在线活动的奇思妙想 纽约，纽约 (2013年2月21日) ShootersNYC，创意立体内容的公司, 广告公司电通美国公司聘请编辑安东尼 · 马里内利为佳能美国公司的一系列新的在线网站提供编辑和后期制作 s。 a. 公司，强调公司的世界级客户服务和支持;并展示了他们自己的 house内部人才。 要查看新的活动，请转到: http://shootersnyc.com/spots/canon-michael/ 由导演蒂姆 · 比伯拍摄，现场展示了真正的佳能技术支持代表，分享了如何解决不同情况的技巧，以及佳能客户服务闪回中的演员, 全部由 ShootersNYC 编辑 Anthony Marinelli 编辑。据电通集团创意总监布鲁诺 · 科尔博称: 这些在线视频横幅的目标不仅是提供有用的提示，并展示卡农服务和支持的价值, 而是以一种难忘而有趣的方式这样做。在编辑这三个视频之前，我们和安东尼谈过，他立即意识到有必要在幽默和我们想传达的更多技术信息之间建立平衡。我们还必须锁定我们的佳能代表在弗吉尼亚州切萨皮克的呼叫中心拍摄的初始拍摄，这样我们在芝加哥的演员就可以直接与他们的阅读唇同步。安东尼建造了这些地点的外壳，创造了一种即插即用的格式，让我们确切地知道我们在芝加哥需要覆盖什么。 音乐一直是编辑的重要元素，Marinelli 也通过寻找主题曲来奠定基础, 并开发了一种结构，允许他从技术支持代表切入到 caller 的来电者，同时只使用演员表演下的佳能代表 VO 来讲述通话。我一看到木板，就听到了我脑海中的音乐，并确切地知道我想用哪条赛道，哪条赛道又轻又古怪。这确实为编辑过程定下了基调。让真人和演员混在一起是独一无二的，但马里内利以前也面临过一些事情。与经验丰富的演员一起，他们接受了训练，所以他们几乎每次都在对话。对于真实的人，你需要看每一个片段，有时需要把几个片段的对话剪成一起。 从第一次粗略的剪辑开始，我们就注意到安东尼给这个概念带来了一部情景剧，并为所有的景点巩固了一种独特的格式，丹达苏的科尔博补充道。由于所有演员的表演都与演员的表演进行了唇形同步，因此需要进行无休止的搜索，并试图看看什么效果最好。安东尼也能够巧妙地设定速度，为一个有点复制密集的地方，并开发了一种流程，保持了有趣和事实之间的平衡，这些事实将故事进行得很漂亮。 对于 ShootersNYC 常务董事/EP Jeff Beckerman 来说，鉴于综合公司提供的资源不断扩大，该项目代表了 ShootersNYC 与客户合作的方式。网站上的斑点是由射击运动员的高级调色师珍妮特 · 猎鹰修正的，由射击运动员的烟雾艺术家马克 · 朗尚完成的。贝克曼说，马克在合成一些棘手的镜头方面做得很好，客户对结果非常满意。 虽然我认为安东尼非常适合这个项目，但电通制片人史蒂夫 · 阿马托总结道，他多年来与马里内利合作过很多次。他是一个理解表演细微差别的编辑。我们希望员工看起来很有帮助，但也很有趣，他在编辑中认出了这些时刻。安东尼的工作总是以人为中心。我早就知道我和他一起工作了。如果你在寻找情感，他总是会找到那个角度。他总是发现微笑，有趣的时刻，以及这些人所说的真相。
Ashley
案例简介：SHOOTERSNYC EDITOR ANTHONY MARINELLI ADDS SITCOM-LIKE WHIMSY TO NEW ONLINE CAMPAIGN FOR CANON New York, New York (February 21, 2013) ShootersNYC, the creative multi-dimensional content company, and Editor Anthony Marinelli were tapped by ad agency Dentsu America to contribute editorial and postproduction for a new series of online spots for Canon U.S.A., Inc., highlighting the companys world-class Customer Service & Support; and featuring some of their own in-house talent. To view the new campaign, go to: http://shootersnyc.com/spots/canon-michael/ Shot by Director Tim Bieber, the spots showcase real Canon Technical Support Representatives sharing tips on how to troubleshoot different situations, as well as actors featured in Canon Customer Service flashbacks, all edited by ShootersNYC Editor Anthony Marinelli. According to Dentsu Group Creative Director, Bruno Corbo: The goal of these online video banners was to not only provide helpful tips and demonstrate the value of Canons Service & Support, but to do so in a memorable and interesting way. Before editing the three videos, we spoke to Anthony and he immediately saw the need to create a balance between humor and the more technical information we wanted to convey. We also had to lock-in on initial takes from our Canon Representatives shot at their call center in Chesapeake, Virginia, so our actors in Chicago could lip sync directly to their reads. Anthony built the shell of the spots that created a plug-and-play format that let us know exactly what we needed to cover in Chicago. With music always an essential element for the Editor, Marinelli also set the groundwork by finding a theme-song-like-track, and developed the structure that allowed him to cut from the Tech Support Rep to the caller, while using only the Canon Reps VO under the actors performances to recount the call. As soon as I saw the boards, I heard the music in my head and knew exactly which track I wanted to use which was light and whimsical. It really set the tone for the editorial process. Having real people mixed with actors was unique, but something Marinelli has faced before. With seasoned actors, they are trained so they hit their dialogue almost every time. With real people, you need to look at every take and sometimes cut together several takes of dialogue. From the very first rough cut, we noticed Anthony brought a sitcom like sensibility to the concept and cemented a distinct format for all of the spots to follow, adds Dentsus Corbo. Since all of the actors performances were lip-synced to the reps takes, it required an endless amount of searching and trying to see what worked best. Anthony was also able to artfully set the pace, for a somewhat copy intensive spot, and developed a flow that kept that balance between the fun and facts that carried the stories along beautifully. For ShootersNYC Managing Director/EP Jeff Beckerman, this project is representative of the way ShootersNYC is empowered to collaborate with clients, given the expanded resources available through the integrated company. The web spots were color corrected by Shooters Senior Colorist, Janet Falcon, and finished in the Smoke by Shooters Smoke Artist, Mark Longchamps. Mark did a great job compositing some tricky shots, and the clients were very pleased with the results, says Beckerman. I think Anthony was perfect for this project, concludes Dentsu Producer Steve Amato, who has collaborated with Marinelli many times over the years. He's an Editor that understands the nuance of performance. We wanted the employees to come across as helpful, but also entertaining, and he recognized those moments in the edits he made. Anthony's work is always very people-centric. I've known that for the long time that I've worked with him. If you're looking for emotion, he will always find that angle. He always found the smile, the funny moment and with it the truth of what these people were saying.
阿什利
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Ashley
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