Clive Jenkins made his post at Brick House Editorial official. No stranger to Atlanta, Jenkins has served at Crawford Communications as Senior Design Effects Editor and Director of 3D Animation. He has also worked in San Francisco and Los Angeles as Senior Compositor/Supervising Editor at Varitel and has been a noted editor in Australia.

His experience includes linear online, AVID editing, Henry compositing and 3D animation. Past agency clients include JWT, O&M, and BBDO. Jenkins has also completed spots for such companies as Sega, Walt Disney Features, MicroSoft, and the Rock and Roll Hall of Fame. During his career, Jenkins has reeled in three Clios, four Emmys, two International Monitor Awards, and a Gold BPME.

Brick House COO, Melva Hull said, “We are very proud to have Clive join our team of talented editors. His extensive background in over 100 commercials, special programs, and feature films will be a major asset to agency and specialty producers.” Jenkins will be responsible, on a contract basis, for high end projects as well as design consultation for animation and effects.

Talk about high end projects. Building on Cingular’s stellar ad debut (you couldn’t miss the handful of spots they ran during the Superbowl), efilms of Atlanta hired Brick House to provide post production on a corporate video for the growing wireless company. The task at hand was to create brand awareness and heighten brand excitement internally among the corporate staff of the new company and new division of BellSouth. Word moved from Ketchum PR to efilms to Brick House. Of the project, efilms’ Charlie Sherrod said, “It was all about presenting, via film, all the great brand work that creatives at Cingular, Ketchum, BBDO, and UPSHOT had created to prepare Cingular Wireless employees to successfully launch.”

Mirroring the brand’s ad theme, Sherrod created a fast paced montage with people from around the country expressing themselves with Cingular. The six minute piece, which extends the brand’s concept of expression, was cut to a popular soundtrack and concentrated on individuals, employees, and the new splat logo rather than on technology.

Animations of the logo were created in After Effects and the Symphony motion tracker/stabilizer added to its truck and signage. Editor Kerry Schnitzlein conformed the piece in the Symphony from over two hours of original and stock footage. Audio Specialist Greg Gause took the Symphony metadata direct into the AVID AudioVision. Final touches were added in the Henry suite.