The Spec Spot - TV Commercial Production

Login

Don't have an account yet? You can create one. As a registered user you can add your comments about the spots, and your votes count with double weight.

Navigation

Home
Rate Spec Spots!
Bored?

FAQ
Feedback
Members List
Private Messages
Recommend Us
Resources and Links
Submit News
Submit Spots
Surveys
Your Account

Who's Online

There are currently, 14 guest(s) and 0 member(s) that are online.

You are a Guest. Register to be a reviewer here

Mike's Hard Lemonade - " Heartbreaker"

Like this spot? Share it! Post it to your favorite Social Bookmark sites.

Beta: Send this Spec to a Mobile Phone (free!)

Send this spot to a Friend
Your Name	Your Email
Your Friend’s Name	Your Friend’s Email
Add a personal message (optional)

Type the security word from the box above - to prove that you're a human

Credits:
Director:	Eric Badros
DP:	John Ealer
Producer:	Melissa Ayn Eccles, Carolyn Yamazaki
Principle Actor:	Brett Caruso
Principle Actor:	Heather Weeks

Agency:	NA
Writer:	Eric Badros
Editor:	Avi Youabian
Telecine:	Keep Me Posted
Post/VFX:	Keep Me Posted, Pixel Corps
Sound Design:	Josh Eckberg
Music:	Bear McCreary
Notes:	Production Designer Moe Moe Lwin

Request Additional Information About This Spot
If you'd like to know more about this spot, use this form:
Your Email
What information would you like?


Type the security word from the box above - to prove that you're a human

2885

RATE THIS SPOT

Viewer Comments and Reviews:

Posted by jimarri: 07-07-05 11:12
Make it a true 30, (or close) and I think you'll be much prouder. The editorial pacing has a certain nice style, but is probably inappropriate for most any 30 sec. commercial. Somewhat contradictory to this, I feel that it would have been nice to see a shot of the catcher lying on the ground after his heart has gone bye-bye. Conceptually, this spot offers a variation on the previously airing Mike's spot yet still connects with them. Creatively, that's nice, but I'm not sure how it strengthens the effect of the overall campaign (but maybe an argument could be made that it does.) I like how even though I knew "something gross" was about to happen with that pitch, something fairly unexpected happened.
________________________

Posted: 07-05-05 19:37
what's up with that cut about 10 seconds into the spot. the guy turns away from camera. cut to guy looking at the camera. i'd say it's a mistake but you put the spot up here so i wonder: are you serious?
________________________

Posted: 07-01-05 08:34
The girl (Heather) is so hot!! It completely makes up for the fact the story is weak. I agree with everyone below. The Direction was good considering the 'money' it would take to fill the seats and have good C.G. And the spot needed to be a :30 Your DP did an awesome job...love his lens choices. The empty seats just really would have made the biggest difference. Now, back to the girl! Is she seeing anyone?
________________________

Posted: 06-30-05 15:52
I completely agree with the last poster about cutting it down. i think the problem here might be that there is definitely not enough for a 60 second cut but the treatment won't quite fit into a 30 second spot. however, this is exactly what you have to be very careful with when doing a spec. you need to demonstrate you can tell your story effectively in the 30 second format. and let's face it, commercial directing is all about the 30 sec. hardly ever can a spot hold up over a minute and this is true even for real big budget spots. i agree, however, that this is quite impressive work for a spec spot. the cg could have been better but we all know how hard it is to get good cg work done. the main problem is that the spot lacks what it's treatment calls for. a lot of money. an extra in every seat. exaggerated beauty lighting on the girl, perfectly animated creature, etcetera. having said all that it's definitely one of the better specs on this site. i'm curious to see your next one...
________________________

Posted by rlleon: 06-29-05 18:56
Hey, it's the same poster from below. I was actually wrong about the match-on-action cuts being the reason why the spot seemed slow paced. I realize upon second viewing that it's simply that there's too much fat. Like, the shot of the pitcher throwing the ball in the beginning can be cut, and it seems like there's at least five different shots of the catcher staring at the woman. We get the point, you can cut out at least three of them by also cutting out the dialogue with the batter (it's just painfully slow). Spots always speed through the action. And hey man, if it seems like I'm being anally critical, it's only because I can tell that you're serious and talented, and as a filmmaker myself, I appreciate (what I hope) is constructed criticism that could make my work better.
________________________

Posted by rlleon: 06-29-05 18:37
The fact that there's only a sparse number of fans in the background really takes you out of the story. With the effort you put into this, would have it been that hard to find more extras? It would have made a huge difference. Also, the pacing's kind of slow, particularly in the beginning. I realized that it's because this spot's edited in real time. If you watch most spots that involve match-on-action editing, the cuts are usually jump cuts. They're just edited smoothly/skillfully so we don't notice. Fine work for your reel though.
________________________

You may not post comments
unless you are logged in.
Log in now or get a free account.


The Spec Spot - your on-line spec commercial repository serving the commercial TV advertising production community. Find new directors, fresh new marketing concepts. Connect with commercial film makers, directors, DPs, advertising agencies, copywriters, producers, art directors, editors, artists and more. Get credits on post production, compositing, inferno, computer animation and special effects in these spec spots. All T.V. commercials on this site are property of their respective owner. The comments are property of their posters, all the rest © 2004-2005 by thespecspot.com. The Spec Spot - television advertising produced with out the restraint of agency, client, budget - and sometimes good taste.