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!

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

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

Peep the HD Goodness below.

agency | Sukle
color | Eric Anolin, Crosspoint
finish edit | Luke Bishop, Crosspoint

Matt and I are tech consulting for the latest Cactus/Colorado Lottery spot.  This will be our first project shot on the ARRI Alexa.

The production company, Twist, will record ProRes 4444 LogC to SxS cards, cloned to LaCie ruggeds.  Matt will offline and finish in AVID MC5 via AMA.  I’ll conform an AAF to the original ProRes files, and finish the color grade in Baselight, using a LUT provided by ARRI. The spot will feature 3D animation by Fuse.

The location is a recently shuttered jewelry store on Clayton Lane in Cherry Creek North.

prod co | Twist
vfx | Fuze

Colorado Lottery – Operation from Crosspoint on Vimeo.

Cactus enlisted LAIKA/house director Mark Gustafson to create flawless stop-motion animation for the newest Colorado Lottery Monopoly Scratch game. Eric Anolin color graded uncompressed 10-bit quicktime files in Baselight, and delivered HDCam and Digital Beta masters for final audio sweetening at Rocky Mountain Recorders.

Crosspoint and blue onion provided beginning-to-end production and post for Westfield Company’s opening of 1800 Larimer, the newest addition to the Downtown Denver skyline. A technologically-advanced office tower, 1800 Larimer is LEED Platinum certified and represents the future of urban office space.

The project was truly all hands on-deck: Scott Tuke shot interiors, interviews, exteriors and using Sony HDCam F900; and Luke Bishop and Mike Heinrich contributed 2nd unit photography on Sony EX3. Matt Struck edited 5 video pods on Final Cut Pro and Adobe Affter Effects, for presentation on multimedia kiosk and web. Donald Corsiglia created 3D and motion graphics effects in Cinema 4D. Steven Lopez added additional 3D work with Google Earth Pro and SketchUp. Eric Anolin applied final color grades in Baselight.

Integer Group chose Post Modern, Coupe Studios and Crosspoint for the latest commercial for Victory Motorcycles. The footage was shot entirely on RED ONE at 4K. Jason Sedmak (Post Modern) cut on Avid Media Composer (using Metafuze to transcode the .r3d files to .mxf). Eric Anolin conformed the 4K .r3d files + AVID .aaf in Baselight. Crosspoint delivered 12-bit, 4k .dpx files, and Sedmak finished the spot in Autodesk Smoke. Coupe Studios composed the original music.

edit/fx | Jason Sedmak, Post Modern
color | Eric Anolin, Crosspoint
original music | Coupe Studios

Cameron Christopher Thomas Advertising recently recruited Walk the Line Films and Crosspoint to execute two new Boston Market spots. Walk the Line Films’ Director of Photography, Roger Sackett, shot all food footage on a Sony EX1 using a lens adapter to accommodate the use of film primes. The results are stunning and look remarkably close to film, at a fraction of the cost.

From there, Crosspoint editor, Luke Bishop, integrated the Sony XDCAM with a graphical treatment created in Adobe After Effects and assembled the piece in Apple’s Final Cut Pro. The spots were then sent to colorist, Eric Anolin, to be graded in Filmlight’s Baselight ONE. The digital files effortlessly transferred between the two suites using XML and were conformed in Baselight for finishing in AVID DS. Donald Cosiglia added all the finishing touches, including 3D, to finish the spot.

client | Boston Market
agency | CCT Advertising
production co | Walk the Line Films
edit, graphics| Luke Bishop, Crosspoint
color | Eric Anolin, Crosspoint
finish edit, graphics | Donald Corsiglia, Crosspoint
sound | Rocky Mountain Recorders