We got a call from AirTran’s Director of PR Christopher White asking if we’d seen the ad Southwest Airlines was airing during the NCAAs, showing a bunch of their crazy ramp workers running up and flashing an AirTran plane. We had indeed.
AirTran decided that while it wasn’t interested in buying expensive national airtime, it was interested in having some good-natured fun with its competitor and satisfying crew members call for retaliation. White and Common Machine creative director Brett O'Bourke agreed the target was pretty obvious: Southwest’s much-maligned cattle call boarding procedure.
Within the first three days of being posted on YouTube, "Skip the Stampede" racked up more than 45,000 views, was featured on television news casts in more than 50 markets across the U.S. and received coverage in print and online publications including USA Today, ABC, CBS, Bloomberg, the AJC, Dallas Morning News, Denver Post and a ton of others.
Current views are over 120K and the estimated advertising value clocked in around $500K. Pretty good ROI for a video shot on the cheap and put together in about 24 working hours.
Writer/Producer/Director: Brett O'Bourke
DP/stedicam: Richard Patterson
Editor: Jorge Rubiera
Boarding Agent: Dan Triandiflou
Woman on Plane: Eve Krueger
Indy is headed to Miami for the Super Bowl. We're guessing AirTran Airways will have Colts 1 in South Florida quite a bit over the coming weeks.
This is one of a series of NFL and NBA paint jobs we filmed for the airline.
Shot on Sony EX-3
On June 16th, 2008, Converse and Journeys launched the first ever "Get Out of the Garage Music Contest."
The contest was held over a three month period. It received more than 5,000 entries from all over the United States.
Here is the video of the band, Flying Machines filmed and edited by Richard Patterson in NYC, shot on the Sony EX-3 and 16mm Kodak 7222 B&W Film.
"Sinners" by the Brooklyn-based Iranian rock band Hypernova is a fluid stop-motion video created by DP Richard Patterson. Composed of 16,000 individual photographs, scenes were lit with up to ten state-of-the-art Profoto Pro 8a Air flash packs with Profoto Light Modifiers as principal light sources. The camera was a Canon 1D Mark III camera shooting at 10 FPS and a PRO Steadicam rig utilizing a RedRock Micro DSLR camera support system.