agency | blue onion
creative director | Mike Heinrich
director | Jeff Feierstein
writer | Jordan Sher
dp | Scott Tuke
ac | Doug O’Kane
dit | Eric Anolin
script supervisor | Megan Cull
gaffer | Chris Gerding
key grip | Matt Stelling
grip | Mitch Stelling
art director | Dylan Kiszlowski
set decorator | Robin Bartlett-Asnicar
sound | Scott Terhark
talent | Tom Van Ness (Donna Baldwin)
makeup | Tanya Jones
craft services | Charlene Galway
still photography | Paul Trantow
stage | Colorado Studios
production supplies | Wyndham-Hannaway, LSI

The Colorado ski season is just around the corner, and I’m ready for the snow to fly after finishing color on Matchstick Productions’ “Attack of La Niña”. The feature was shot on location in Colorado, Alaska, British Columbia, Washington and California, during the 2010-2011 season, one of the snowiest in recent history.

The MSP crew shot several formats, including RED, Panasonic AF100, Phantom, 16mm film and more. I cranked out the color work in a marathon two day Baselight session and delivered Apple ProRes HQ 422. The MSP edit team layed off the final master to HDCam for the movie tour.

On Saturday, September 17th, the film premiered in two cities on the same night, two sold-out shows in Boulder, CO and Montreal, QC. I’ll be attending the Denver premiere tonight at The Gothic Theater. Tickets are still available, and as always, there will be plenty of ski-related giveaways.

**the above trailer from MSP was cut prior to final color-grade… you’ll have to catch the movie tour to see the finished looks!

director | Jeff Feierstein
location manager | Brooke Johnson
1st asst director | Bob King
dp | Darick D’Ercole
asst camera | Tod Boyle, Luke Bishop
prod assts | Shawn Roberts and Nathan Chaney
electrical | Chris Gerding, Steve Van Ness
grip | Mattt Stelling, Tony Thomas
DIT | Eric Anolin
post supervisor | Matt Struck
script supervisor | Megan Cull
art dept | Dylan Kiszlowski, Robin Bartlett, Ann Marie Auricchio, Tom McPherson
talent | Donna Baldwin
makeup | Tanya Jones, Katie McMillian
craft | Charlene Galway, Natalie Marsh

agency | Network Affiliates
editor | Matt Struck
audio engineer | Kirk Clausen

Testimonials are a great way to express the personal feelings of how a product or service has impacted an individual. The benefit of this particular series of testimonials was that they were going to be used on
the internet, thus not being constricted to the 30 second requirement of a typical broadcast commercial. The footage was shot in HD on a green screen background. This, along with it being finished for the web,
provided the advantage of resizing the footage at each cut and compositing the subject over a faux environment with changing depth of field. In turn, this provided the power editing effect of tight shots
to really express the deep emotions of the testimonial and cutting wide shots to avoid jump cuts.

Theresa Wingert and Henry Lynk (Media Pantry) are shooting Canon 7D.  I’m wrangling data and auditioning color grades in Baselight for Mac.

Henry’s martini… not THE martini

Steven Lopez created this purely 3D project in Adobe After Effects, utilizing scanned photo album pages, and a 3D camera with page peel transitions to deliver a virtual photo album. The spot is built to be customized for seasonal TUFF SHED offers, additional copy and different client photos and video.

Crosspoint editors Steven Lopez and Luke Bishop worked together to finish this piece utilizing Final Cut Pro and After Effects. Working with client provided stills and video, they worked to deliver a video that had a cohesive feel to match the Avalon brochure and branding.

agency | Cactus
edit + fx | Steven Lopez and Luke Bishop, Crosspoint

In 2010, Karsh\Hagan tapped the talents of director Tony McNamara of Futuristic Films, and the team at Crosspoint to deliver another beautiful broadcast campaign for Pinnacle Bank. Tony shot Super 35mm, and the negative was transferred with a flat-pass look to HDCam. Tom Welborn edited in AVID Media Composer and Eric Anolin worked the Baselight color grade. Donald Corsiglia conformed, composited and finished in AVID DS. Original music composition by K\H’s own Matt Nasi.

agency | Karsh\Hagan
production | Futuristic Films
edit | Tom Welborn, Crosspoint
color | Eric Anolin, Crosspoint
online + fx | Donald Corsiglia, Crosspoint
music | Matt Nasi, K\H

blue onion’s Tom Baldonado and Mike Heinrich travelled to the practice facilities of the Indianapolis Colts to shoot a series of spots with NFL super-mascot Blue, and his handler. Darick D’ercole shot Sony F900.

agency + production | Tom Baldonado, Mike Heinrich and Darick D’ercole, blue onion
edit | Steven Lopez, Crosspoint
color | Eric Anolin, Crosspoint
sound | Kirk Claussen, Crosspoint

Shot on location at the Ice Ranch in Littleton, Colorado. We filmed all of the skating/shooting/puck-handling footage on RED with Ryan Dunn, our body-double (and hockey teammate of Crosspoint colorist Eric Anolin). Paul Stastny finished the day on the ice with on-camera stand-ups, voice recordings and still photography.

agency + production | Shawn Roberts, Mike Heinrich and Darick D’ercole, blue onion
edit | Matt Struck, Crosspoint
color | Eric Anolin, Crosspoint
sound | Kirk Claussen, Crosspoint