Canada’s TV spot awards fete the best and the brightest ­ Playback looks at the talent behind this year’s crop

In this report

– Palmer Jarvis’ evocative ad for Playland is a prime example of Vancouver’s guerrilla-style admaking at its best p. 22

– The winners montage: pix of the picks p. 26

– Preserving our TV advertising heritage p. 28

– A profile of Bessie-winning cinematographer Peter Hartmann p. 31

– Flashcut’s Bob Kennedy scoops the Bob Mann Award p. 32

– And the winner of the prestigious Spiess Award is BBDO’s Michael McLaughlin p. 33

– Allstars roundup p. 34

– Playback introduces ZapProof, a new feature on TV spots that stand out from the clutter p. 40

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This year’s Bob Mann Award for post-production excellence belongs to a skilled editor, creative contributor and discerning technology advocate.

Bob Kennedy, an editor at Toronto’s Flashcut since 1983, is widely recognized as having consistently maintained the status of top spot editor as well as devoting significant energy to remaining on the edge of technological advancement.

The Bob Mann Award, presented at the Bessies since 1992, recognizes the combination of professional creative and technical acumen that was embodied in its namesake, a longtime Partners’ Post editor and widely regarded human being.

Award chair and TOPIX Computer Graphics and Animation producer Lisa Weinrib acknowledges Kennedy’s reputation for problem-solving and his wide array of work. ‘He’s known for his wizardry,’ says Weinrib. ‘He’s committed and prolific and he’s got a distinctive style.’

Kennedy began his sojourn at Toronto proto-production shop rabko, and before moving to Flashcut to join founders Norm Odell and Michelle Jones, undertook a world tour that included a mid-winter stint in Iceland and an editorial job in Australia.

As an editor, Kennedy has undertaken feature, documentary and multimedia projects and his commercial career has included award winners like Molson Canadian ‘Dance to the Music’ and Clio award-winning at&t work. Among other award-winning spots, Kennedy has also had a hand in effects-intensive spots like DDB Needham’s ‘Lion Queen’ and ‘Tornado’ for Finesse, directed by The Players Film Company’s David McNally with special effects by Calibre.

Bates producer Rick Tuer says he has known Kennedy for several years, dating back to the rabko era, and cites the editor’s admirable personal qualities as well as his technical prowess. ‘He’s universally liked and respected in the business,’ says Tuer, who calls Kennedy an innovator.

Most describe Kennedy as an independent technical thinker who devotes time and effort to researching the most effective and up-to-date technological solutions, rather than hopping aboard expedient equipment bandwagons.

Flashcut, the only North American spot shop to be based around Lightworks editing systems, has been the beneficiary of his shrewd technical guidance. The shop is currently a beta test site for the Lightworks/Tektronix vip nonlinear online editing system and Kennedy has been involved in the development of the equipment, which provides an integrated solution for post with capability to handle four independent channels of broadcast-quality video and to finish most projects.

He has also been a leader in network solutions for post and has been active in making computer network technology a workable solution for post companies.

Kennedy has been involved in Smart Toronto, a not-for-profit organization working to establish a high bandwidth network for Toronto businesses, particularly in the area of film and post, and has participated in the Newmarket broadband trial.

‘He is quite analytical when it comes to sourcing systems and in his approaches to commercials,’ says Weinrib. ‘He’s a man with a mission and a vision. He’s in pursuit of things from a technical as well as an esthetic point of view.’

‘In many ways he’s at the top of his field,’ says Ron Mann Award judge Mike McConnell of Revisions Partners. ‘He has a ton of knowledge on the technical side but is also a great person to deal with.’

The judging process was a challenge, says Weinrib, due to the depth of talent in the field and the lingering humility of many who practice the craft. Weinrib says judges from various ad production and post positions considered about 35 industry people, a list which included not only editors but a wide array of post stars.

‘Often they are very dedicated and it’s a personal mission they’re on,’ she says. ‘They tend not to celebrate themselves as much as perhaps they deserve, but in this award we’re trying to bring that recognition from the community which is very rewarding.’