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Fluid Scores Nextel Campaign For TBA/Chiat Day

(January 14, 2005)

To underscore the idea that Nextel is a productivity company which helps groups get things done, Fluid, the Manhattan-based original music, sound design, graphics and editorial studio, has created original music tracks for The Build and The Deal, a pair of :60s, with :30 lifts. The campaign, which promotes Nextels coast-to-coast walkie-talkie services for both their mobile credit card swipe and  GPS services, was developed by TBWA/Chiat Day (New York, NY). The Build began airing nationally on December 26th and The Deal rolled out nationally January 3rd.

In The Build, a well organized community of workers swarm over the skeleton of a building under construction, scurrying across the poured concrete floors, up and down the sides of the edifice carrying impossibly heavy building materials on their heads and backs.  For ants the antennae play a prime role in the communication of information.  In this spot, Nextels coast-to-coast walkie-talkie services, mobile credit card swipe and inventory management  do the trick.  
For The Deal, two worker bees in a modern office tower get their marching, er, flying orders from the ?queen-bee who instructs them to close on the Weingard property. The two fly off down the halls and into the streets below to complete their assignment, their movements monitored by the ?queen who continues to give them directions via Nextels coast-to-coast walkie-talkie and GPS location technology.   Back in the office, a beehive of activity, there is rejoicing when news of the accomplished mission arrives.

Of the agencys recent collaboration with Fluid, TBWA/Chiat Day Director of Broadcast Production Ozzie Spenningsby said,  ?We needed music that supported picture but at the same time was a bit unexpected and unusual, music that would catch the viewers ear. The tracks are half the success of these spots. The challenge was bringing the audio up to the power level of picture and Fluid really came through for us. 

In both The Build and The Deal Fluid was careful to score using beats that propelled the music and matched the agencys desire for energetic, productive spots. 

?When we initially viewed The Build, we decided that what would ultimately carry the spot best was a rhythmic and simple melodic repetition  that  built slowly and developed tension. We didnt want to create a score which telegraphed to the viewer all the amazing things that were happening on screen.   We did not want the music to blow the visual joke, explained  Fluid Producer Brad Stratton.  ?We wanted the viewer to slowly came to the ?oh, my God, look at what those people are doing realization.  Utilizing a number of percussion instruments, an ocarina, wooden flutes and a  boatload of manipulated rhythm and sound design samples we gradually layered and build the themes that mirror the viewers journey through the spot.

In The Deal the task was to a bit different. ?It is immediately obvious that the visual is amazing because you see these guys flying around from the get-go. We used a free form sax with the wah wah which gives the track a sense of bees in flight. Our goal was to keep it energetic, keep it propulsive in the rhythm section and to keep it whimsical and full of wonder in the melody and the harmony, added Stratton. 

?We were looking for something fresh musically  and Fluids tracks  took us to new and unfamiliar territory. It is easy for a music company to say lets put the music forward but Fluid understood that the visuals, sound design and music had to weave together to enhance these spots. Their tracks are quirky, they really capture sounds we associate with ants and bees, added  Group Creative Director/Art Director/Copywriter Joel Rodriquez.

The Fluid team included Judson Crane who created an original score for The Build, Andrew Sherman who composed the score for The Deal, Producer Brad Stratton and Executive Producer David Shapiro.  
The agency team representing TBWA/Chiat Day included Executive Creative Director Gerry Graf, Group Creative Director/Art Director/Copywriter Joel Rodriquez, Director of Broadcast Production Ozzie Spenningsby and Copywriters Scott Kaplan and John Patroulis. (There was no agency producer.)

The live-action was lensed by SMUGGLER (New York, NY) and directorial collective Stylewar (Felip Engstrom), Executive Producers Patrick Milling Smith  and Brian Carmody,  Head of Production  Allison Kunzman, Producer Jeff Miller, and DP Joe DeSalvo.

Postproduction and visual effects were provided by The Mill (New York, NY) and VFX Artists Angus Kneale and Jamie Scott, 3D Artist  Ben Smith, Colorist Fergus McCall, Producers Jo Arghiris and  Verity Grantham, and Production Designer Ninon de Klerk. The offline editorial was provided by Editor Jun Diaz of MacKenzie Cutler (New York, NY) and Marc Healy contributed sound design. The final audio mix was completed at Sound Lounge (New York, NY) by Mixers Tom Jucarone,  Peter Holcomb and Rob Sayers.

Fluid opened its doors in September 1998 when Composers David Shapiro and Andrew Sherman of Shapiro Music (Boston, MA), and Designer/flame Artist Alex Frowein of The Core Group (Boston, MA), decided to pool their talents and resources and relocate to open a creative studio in New York City.  This untraditional combination of original music scoring/sound design and design/visual effects services has earned the company an enviable list of high-profile clients and a loyal following.

Fluid, the New York-based original music, sound design, visual effects and editorial studio, is headquartered at 532 Broadway, 5th floor, New York, NY 10012; phone (212) 431-4342; fax (212) 431-6525.  Visit the Fluid website at For more information, or to see a reel, contact Jessica Millington or Erin Rickel.



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