American Cinematographer - October 1995 - 32

directors and to increase produc¬
awareness of what ILM had to
offer beyond the obvious. Virtually

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all of Townsend's goals have been
realized. "This spot for Supercuts is

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a

good example of the direction the

commercial division's going in,"
Townsend says. "We're expanding
the toolbox, going beyond just

serving a particular scene by creat¬
ing whole environments and char¬
acters. In the past, advertising re¬
acted to feature work, and the com¬
mercial division employed tech¬

niques we developed for features;
digital palette expands, many
techniques will now be pioneered in

as our

the commercial division. That will

ultimately result in better,

more

efficient film

production, so the
pollenization will be bipolar."
The first step towards ful¬
filling that goal is the creation of
the new Commercial Computer
Graphics Projects division. "I envi¬
sion the CG division becoming al¬
most like another director,"
Townsend says. "It's an opportu¬
nity for us to groom people who
are more attuned to
working in the

commercial environment."
Headed by British effects
artist Paul Nightingale, the new

division will push character anima¬
tion in the commercial environ¬

typified by "Stylin'" and an
upcoming GTE commercial featur¬
ing a talking telephone. "When we
did "Stylin',"some of the people,
like Tim Harrington, were dedi¬
cated commercial people, while
others, like George Murphy, were
making guest appearances,"
Nightingale says. "Ultimately,
we'll be operating with between 20
and 30 people, but we want to en¬
ment,

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courage more guest appearances

by those artists who want a change
of pace from features. My plan is to
exploit the relationship between
the two groups to the greatest de¬
gree possible."
"We can now pick people
from both sides to create a perfect
team for a perfect spot," Townsend
agrees. "Putting an Academy

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of
American Cinematographer - October 1995

Table of Contents for the Digital Edition of American Cinematographer - October 1995
