Chevrolet at Super Bowl 2011
General Motors is running a range of television commercials for the Chevrolet during and after the Super Bowl XLV on FOX, available online now at the Chevrolet Facebook page and YouTube channel. The Camaro, Cruze Eco, Silverado HD and Volt will be featured in a combination of in-game and post-game ads. The post-game episode of Glee will feature a tribute to Chevrolet. Chevy is presenting a Camaro Convertible to the Most Valuable Player from Super Bowl XLV between the Pittsburgh Steelers and Green Bay Packers.
Misunderstanding is based in a rest home where the senior residents struggle with the message, the Cruze Eco gets 42 miles per gallon. Click on the image below to play the video in YouTube
“Discovery,” highlighting the Volt, takes us from the sky to the lab, the stage and the garage. Click on the image below to play the video in YouTube
“Tommy,” features the Silverado HD pickup truck in a humorous take on the Lassie television series. Click on the image below to play the video in YouTube
“Al’s Chevrolet,” starring the Camaro Bumblebee, provides a piece of Transformers action, with a plug for the new movie, Dark Of The Moon. Click on the image below to play the Al’s Chevrolet video in YouTube
“Status” uses romance to promote the Facebook update capacity of the Chevrolet Cruse. Click on the image below to play the Status video in YouTube
One of the Super Bowl ads will promote an elaborate, longer-form Chevrolet spot to air during the “Glee” episode following the Super Bowl, featuring the classic song “See the U.S.A. in your Chevrolet”. Click on the image below to play the video in YouTube
“Ms. Evelyn,” featuring the Camaro, will air after the presentation of the MVP Award or in overtime. Two guys create their ideal commercial, fine tuning the plot as they go. Click on the image below to play the video in YouTube
The Chevrolet Super Bowl ads were created at Goodby, Silverstein & Partners by co-chairman Jeff Goodby, executive creative directors Rick Condos and Hunter Hindman, art director John Whitmore and copywriter David Roth (Misunderstanding), copywriter John Kovacevich and art director Brian Gunderson (Status), art director Tyler Magnusson and copywriter Matt Rivitz (Discovery), associate creative director Chris Roe, art director Nick Luckett and copywriter Rob Calabro (Tommy), copywriter Colin Nissan and art director Sean Farrell (Al’s Chevy) director of broadcast production Cindy Fluitt, executive producer Hilary Coate, broadcast producer Jon Drawbaugh, assistant broadcast producer Ryan Wilson, producers Matthew Winks, Jim Vaughan, Michael Damiani and Stacey Higgins.
Filming for Misunderstanding was shot by director Stacy Wall via Imperial Woodpecker with executive producer Doug Halbert, line producer Jeff McDougal, director of photography Alwin Kuchler, production designer Dave Doernberg, stylist Leeann Jarvis. Editor was Carlos Arias at Rock Paper Scissors with assistant editor Jeff Sharpe, producer Angela Dorian, executive producer Carol Lynn Weaver. Visual effects were produced at A52 by lead Flame artist Andy McKenna, producer Daughn Godd Ward, and executive producer Jennifer Sofio Hall.
Filming for Status was shot by directors Dayton/Faris via Bob Industries with director of photography Chris Soos, lead producer Mark Hall. Editor was Kim Bica at Arcade Edit with assistant editor Luke McIntosh and producer Ali Reed. Visual effects were produced at Airship Post. Music was produced at Elias Arts.
Filming for Discovery was shot by director Filip Engstrom via Smuggler with executive producers Patrick Milling Smith, Brian Carmody, Lisa Rich and Laura Thoel, director of photography Ben Seresin, production designer Jeremy Reed, wardrobe stylist Colleen Atwood, line producer Jennifer Barrons. Editor was Stephen Berger at David Inc with producer Janie Ford and assistant editor Kendre Juul. Visual effects were produced at MPC by colorist Mark Gethin, VFX supervisors Drew Downes and Kim Stevenson, VFX producer Louiss Cartwright, head of production Andrew Bell. Sound was designed at 740 Sound Design by sound designers Andrew Tracy and Eddie Kim, executive producer Scott Ganery, and mixed at Lime Studios by Joel Waters. Music was produced at Elias Arts by executive creative director Jonathan Elias, executive producer Ann Haugen, creative director Dave Gold, composer Nate Morgan.
Filming for Tommy was shot by directors Speck/Gordon via Furlined with executive producer Dave Thorne, director of photography Toby Irwin, line producer Martha Davis. Editor was Paul Martinez at Arcade Edit with assistant editor Dean Miyahira. Visual effects were produced at The Mission by creative director Rob Trent, compositors Justin Blaustein and Chris Moore, CG supervisor Piotr Karwas, VFX producer Ryan Meredith and executive producer Mike Pardee. Music was produced at Beacon Street.
Filming for Al’s Chevy was shot by director Tim Godsall via Biscuit Filmworks with executive producer Shawn Lacy, director of photography Darko Suvak, line producer Rick Jarjoura. Editor was Jim Hutchins at HutchCo Technologies with producer Jane Hutchins, assistant editor Steve Miller. VFX were produced Industrial Light & Magic by VFX supervisor Linda DeQuarto, VFX artist Duncan Blackman, executive producer Wayne Billheimer, VFX producer Brian Barlettani, sound designer Ethan Van der Ryn. Post production was done at Brickyard VFX by Flame artist Patrick Poulatian, post producer Diana Young. Colorist was Stefan Sonnenfeld at Company 3. Sound was mixed at Lime Studios by Rohan Young and Loren Silber.
Tagged: 740 Sound Design, A52, Airship Post, Alwin Kuchler, Arcade Edit, Beacon Street, Ben Seresin, Biscuit Filmworks, Brickyard VFX, Chris Soos, Company 3, Darko Suvak, David Inc, Dayton/Faris, Elias Arts, Filip Engstrom, Furlined, Goodby Silverstein & Partners, Hutchco Technologies, Imperial Woodpecker, Jonathan Dayton, Jonathan Elias, Kim Bica, Lime Studios, Nate Morgan, Rock Paper Scissors, Smuggler, Speck/Gordon, Stacy Wall, The Mission Studio, Tim Godsall, Toby Irwin, Valerie Faris