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VendorDB is the comprehensive database of companies and service providers for the creative industries.

Month: August 2014

New Companies This Week – August 25, 2014

Happy Monday everyone. We’re back to adding awesome companies after a much needed summer holiday.

Speaking of awesome, we went deep this week in photography with some of the best: Process, Burnham Niker, Germaine Walker and the wicked Germans over at F1 Representation GmbH.

If you’re looking for a novel way to reach your customer’s eyeballs, why not by bike with Cycle Media.

And a special shout out to our friends at Cloneless Media, a mind blowing post-production platform that let’s you create and traffic spots in real time. The future is here!

Interested in being added to VendorDB? Submit your URL here.

24 Seven
24hrs Production
76 Design
999 Design
Adrenalin Brothers
Agent Molly & Co
AKA Talent Agency
All Access Staging & Productions
Ares Producciones
At Media
AZ Celtic Films
Badass Programmers
Barefoot Proximity
Big Picture Reps
Blue Pony
Burnham Niker
Camp4 Collective
Cloneless Media
Cooke & Co
Cycle Media
Double Encore
Electric Yolk Media
Epstein’s Fine Furs
F1 Representation GmbH
Fighting Fish
Frank Collective Inc.
Fresh Digital Group
Germaine Walker
Gill Turner
Global Entertainment Industries
Idiom Interactive
Johannes Leonardo
JSR Agency
Krux Digital
Lew & Co
Lucid Representation
Mark Woolsey Brand Consulting
Moo Digital
Morgan Lockyer
Mystic Scenic Studios
Nine Mile Circle
Peter Bailey Company
Radoxist Studio
Reveal NYC
River City Scenic Inc.
Rumble Music
Silvia’s Costumes
Siobhan Squire
Snowball Studios
Sound and Fury
Studio Output
Sue Allatt Creative
Swerve Represents
The Colony
The Oval Office
The Production Department
The Think Tank
The Uprising Creative
TLC Marketing
Trayler & Trayler
Tribe Pictures
Tshed Ltd
Urban Sled
Valid USA
Wave Represents
Webber Represents
Zac Cranshaw

Partner Spotlight – TBWA Worldwide

The partner spotlight is a weekly series where we go behind the scenes with some of the companies that make VendorDB great. Next up is TBWA Worldwide!

TBWA Disruption

TBWA’s Disruption®

The Vitals

Name: TBWA Worldwide
Locations: HQ in NYC, 323 offices globally in 97 countries
Year Founded: 1970
Top Clients: Nissan, Apple, McDonald’s
Specialties: Disruption, Digital, Integrated, Creative, Full-Service

How was TBWA started?

Four young executives — William G. Tragos, Claude Bonnange, Uli Wiesendanger and Paolo Ajroldi —united to form an advertising agency in Paris called TBWA. Their motto was “Built, Not Bought.”

What makes you different from other agencies?

Disruption®. It is a tool for change and an agent for growth. It’s our methodology but it’s also embedded in our culture and DNA. It’s our connective tissue that runs throughout our 300+ offices.

Which work or brand put you on the map?

Apple’s 1984 commercial which essentially spearheaded the phenomenon of the Super Bowl ad and is still widely regarded as one of the best ads of all time.

Which campaign or work is your most underrated?

More like a well-kept secret.. we work with McDonald’s in around 30 countries globally and this continues to expand. They are our 3rd largest global client and we created the Happy character in our Paris office 4 years ago, which has been rolled out globally and was recently introduced to the US market.

How has the business changed since your agency has started?

40+ years have passed and the technology that has emerged in that time has moved the business immeasurably. The Internet, smart phones. Things were much simpler in 1970 – you had print, radio and TV. Today, we have this vast canvas to play with coupled with consumers who have ever-decreasing attention spans. The one thing that has stayed true from the Mad Men era through today is our role as brand storytellers. Now we just have to tell it in many more ways, in many more places, and let the consumers be an active participant and proponent of our stories.

TBWA Office

TBWA\Chiat\Day Los Angeles

Which industry affair is most likely to send your employees to rehab: Cannes, AICP or SXSW?

Cannes for the first-time creative director, AICP for the uninitiated junior producer and SXSW for the digital folks.

What is the best thing about working at TBWA?

It feels like the smallest big network. It is easy to forget there are more than 11,000 people around the word. We work across offices on Disruptions, Swats and global client business. There is a familial feeling when you visit another TBWA office, no matter where it is in the world and in every office you know there is someone you’d like to go have a beer with at the end of the day.

What makes your agency culture special?

The creative spirit that runs through every being in every office around the world. Essentially, the people that work here.

Where is the best bar in the network?

Our London office has a pretty rocking bar in their office, where bands will play from time to time.

Any wild company party stories?

Yes but much like Vegas, what happens here, stays here!

TBWA Lee Clow

Lee Clow, Chairman @ TBWA\MEDIA ARTS LAB, Director of Media Arts @ TBWA Worldwide

You can learn more about TBWA Worldwide on VendorDB and at

Partner Spotlight – Aggressive

The partner spotlight is a weekly series where we go behind the scenes with some of the companies that make VendorDB great. Next up is Aggressive!


The Vitals

Name: Aggressive

Location: NYC

Year Founded: 2008

Specialties: Aggressive focuses on story before seamlessly blending live action, design and 3D animation for commercials, music videos and film

What’s the Aggressive story?

Dan and I met when I moved to New Jersey from Europe, we became friends and somehow fairly quickly we decided to start making films together. One thing led to another and suddenly trusting clients, who didn’t know any better, were hiring us, 18 year old kids, to design, produce and craft VFX for their significant projects.

At the time Dan was studying anthropology at Rutgers University, and was renting this really crappy apartment above a pizza joint. What made his flat particularly shitty, was that for some reason it had no heating and the only way to get warm was to wait for someone to order a pizza downstairs, which would then translate into the oven getting activated, and finally, as a by product, would heat our apartment for a few hours…

When temperatures dropped below freezing, we would continue 3D modeling and animating while hugging our warm computers with our knees (a known trick that allows animators to survive in extreme climates) “that’s some aggressive animation!” I would yell in moments like this and we’d both laugh.

Sometimes Dan would run downstairs and order a large pie just to get the oven working again. “That’s pretty aggressive” he would proclaim climbing back up the stairs… and just like that “Aggressive” stuck, and became our attitude towards ourselves, our work and subsequently the name of our studio.

Fairly quickly, we started getting hired to work on site by a slew of VFX houses around NYC – we did pretty much every type of VFX job there was, with projects ranging from music videos for the likes of Eminem and The Roots, to commercials for Adidas, V8, Bud Light, Coke Zero and many others

The more we worked in post production, the more I was getting the feeling that we are doing all the heavy lifting while the directors that hired us were getting most of the credit. There is nothing more unpleasant for a talented compositor, or animator to get some senseless comments at the end of a 24-hour marathon shift from a director who happens to be away on a boating vacation.

So two years later, and driven mostly by rage and a punk rock “we can do this ourselves” attitude, we decided to start directing our own work and launched as filmmakers. Needless to say it wasn’t a very easy transition. We cold called and e-mailed every production company in the book, got taken advantage of by a slew of shady independent reps and producers, did a few “no-budget” jobs financed by pure willpower and red bulls, got desperate… and then suddenly landed in a roster of a real-deal production company who was willing to give us a shot at directing real projects – the now defunct “Refused TV”.

From that point on things sped up dramatically; we successfully directed one commercial and music video after another, quickly advancing up the ladder in the industry and making a name for ourselves. Ad agencies, labels and clients loved us, and our soup to nuts approach to production, and when the owner of Refused TV suddenly decided to close the company to focus on her music label, we decided to launch our own production company… and so Aggressive was born.

The rest is history.

Now many years later, after winning awards and crafting dozens of prestigious commercials, music videos and films, we always try to be as “Aggressive” and unforgiving towards ourselves, as we were throughout the first steps of our journey; making sure that every frame of our work is painstakingly “Aggressive”.


What emerging tech trend will have the biggest impact on your business?

The Internet. Yes, I know it’s been around for a while.

Today more and more companies quietly reconfigure to a global pipeline, seeking out specialized individual talent outside of their immediate geographic location. With expanding bandwidth speeds, cheap hardware, cloud software and data storage, the workplace has changed dramatically. This is just the beginning of the placeless workspace – suddenly the geographic location of the individual team members plays little significance. Your designer / compositor / color artist / animator / copywriter can be in the next room or across the ocean – today what really matters is only how talented and professional they are.

What advice do you have for agency producers or creatives?

This might sound surprising, especially coming from Aggressive, but it could be really great if our industry’s focus shifted towards telling exciting stories, that reach beyond slick design and amped up visuals.

I think there is a real chance to venture outside all the touchy feely and happy clappy, one size fits all narratives, and craft exciting, distinctive, smart content that really engages the viewer while exploiting cutting edge design as a tool rather than the concept itself.

What is the best thing about working at Aggressive?

You can drink milk straight from the bottle and are as likely to find yourself shooting wolves in Argentina as developing creative concepts for Bloomberg.


You can learn more about Aggressive on VendorDB and at

Partner Spotlight – Lucky Treehouse

The partner spotlight is a weekly series where we go behind the scenes with some of the companies that make VendorDB great. Next up is Lucky Treehouse!


When hotels leave robes in the closet we make sure they get some use.

The Vitals

Name: Lucky Treehouse Production & Post

Location: SF & LA

Year Founded: 2014

Specialties: Making Memorable Work

What inspired you to start your company?

After years of collaborating on projects here and there we got deep into a bunch of jobs in a row; shooting commercials, editing a film and writing two others.  Our working relationship had always been really fun but it became clear during that time that we made each other better, that our whole was greater than the sum of our parts so we decided to go all in like Ghostbusters crossing proton streams.

 How did the partners meet?

 We were neighbors living in the same small apartment building in Santa Monica.

Why SF & LA?

The stock answer to this one is that there are great people to work with and for in both SF and LA, and while that’s true it’s not the whole truth.  If we were to go a little deeper I would tell you that we are in love with both cities and that when we’re in them we’re inspired in different ways.  And that’s true too; but the most real answer I can give is that one or both of us might be addicted to travel, shifting landscapes, new people, and movement, and that setting up shop in just one location wouldn’t adequately feed the need for a regular dose of  the open road.

What was the first job someone hired you for?

I can’t remember the first job someone hired us for but I can remember the first time we worked together.   Right after the iPhone came out in 2006 we made friends with an amazing guy named Gille Legacy at the Santa Monica Farmers Market.  Gille has Cerebral Palsy so he can’t use his arms and legs or even really talk but he has a fully functioning mind.  At the market Gille was painting the most beautiful works of art with his nose and selling them for a few bucks a piece.  He was also using the new iPhone touch screen with his nose to communicate with us, show us pictures of his family and tell stories; something he never could have done with a standard push button phone.  We went home and grabbed a camera to make a spec :30 for apple that didn’t sell but it was a memorable first collaboration for sure.

Which work or brand are you best known for?

 We did a piece for a healthcare start up out of California called Stride Health.  Their mission is to help freelancers, athletes, musicians, and all those that don’t get healthcare through their employer choose the best health insurance for their lifestyle.  Unllike traditional health insurance companies stride needed to do something different to appeal to the self-employed adventurer so we enlisted the world’s best rock climber Alex Honnold to climb buildings without a rope.

honnold goodby still

Which project is most underrated.

The Movember Moustache Ride was a fun one.  Movember is an irreverent social organization that encourages men to grow moustaches for the month of November to raise money and awareness for men’s health so along with creatives Ryan Holland And Amy Travis we took a coin operated grocery store pony ride replaced the pony with a mustache and shot with it in the desert.

What is the smartest work you’ve seen in the past year that didn’t come from your shop?

The W & K  Turbotax “Year of You” stuff voiced by  John C. Reiley was great   It had a lot of heart and tapped into the most likeable part of the super effective / narcissistic “it’s not really about anything it’s about the viewer” model.   It almost feels like we made it at Lucky Treehouse and I’m not 100% sure that we didn’t have something to do with it… you see back in the day Tyler and John C. had an intimate nude group “love” scene in an Apatow film.  As the story goes John became a 87% better at everything that day including singing, dancing, comedy, and commercial voice over’s.

Tyler & John C Reilly

 How has the business changed since you started?

Making video content used to be magic.  As makers everyone in our industry was the Wizard of  Oz  behind the curtain.  Now we’re all working in mediums that people dabble in on their smart phones.

What emerging tech trend will have the biggest impact on your business?

A gigantic swell of entertainment options and delivery methods has changed the way people interact with media.  A -million-dollar TV spot with a rock star isn’t going to get noticed anymore if the content isn’t entertaining on it’s own and worth talking about..  Technology is putting the viewer in control and now more than ever ideas, TV spots, web sites, videos, and stunts have to be compelling enough that viewers will choose to spend their time engaging with, watching, and sharing work.

What advice do you have for agency producers or creatives?

When you’re selecting a production company to partner with for a job that has to fit within a budget have conversations about what the most important pieces of the idea are.  You might be producing an idea with a name talent, a big camera trick, 5 animal stunts and a chorus of 15 dancers for XXX, XXX.XX.  If everyone agrees that the animal stunts make the finished work 5% better they should know when those animal stunts also double the budget and have a conversation about that.  It could be that two animal stunts and an additional shot in Australia makes the work 20% better and is also more affordable to produce.

What do you make of the trend where brands are skipping their agency of record to work directly with production partners?

I’m not surprised.  We’ve had great experiences working with agencies and also direct to client.  The thing we’ve noticed when comparing workflows is how much more expensive jumping through hoops can make a project.

What is the best thing about working at Lucky Treehouse?

Breaking down walls and having fun on set with talent / client / agency is a priority; it bleeds into the work.  If we’re not friends with everybody involved AND making great work by the end of the job then we fucked up.

Where are the best bars in SF & LA ?

Our SF office is at the beach 5 miles north of the city and the best bar within walking distance hands down is The Pelican Inn.  English pub style inside at night and pints on the lawn by day.  In LA we’ve been digging an arcade / bar some friends just opened up called Eighty Two.

rooftop tub

You can learn more about Lucky Treehouse on VendorDB and at

New Feature – Managing Profile Managers

Hot on the heels of the self-managed profiles release, we’ve added the ability for all page managers to add / remove additional team members.

In addition to being able to make changes to profile content, managers get notifications whenever we receive a review for their company and, in the near future, access to profile analytics that contain valuable insights into who is viewing your content.

To add a new profile manager, simply click the ‘Add Manager’ button and enter the person’s email address. We’ll shoot them an invitation which they can use to activate their account.

If you haven’t already signed up for the self-managed profile beta, head over here and do so now!

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