When KarshHagan was asked to make a new spot for Pinnacol Assurance, they reached out to the best talents in Denver to execute their vision. Karsh’s ode to working hands was shot by Futuristic Film’s Tony McNamara on RED, Crosspoint’s Donald Corsiglia completed both the off-line and on-line edits in AVID DS and CO3 in Santa Monica, CA completed the final color. Audio was finished at Rocky Mountain Recorders.
This week’s gem comes from 1988, three years after A-Ha’s “Take on Me” music video, mind you. We see an effect that can now be re-created with an app on any phone, but at the time, probably took all off 1988 to render. It hurts my brain to think of a time when rendering wasn’t made bearable by Angry Birds or the internet. Seriously, what did they do back then? Converse with their clients?! Ah, who am I kidding. It was the 80’s, they were probably playing pong or doing blow…. Probably blow. How should I know, I was 4. Anyone else think of GOB Bluth when watching this?
We’re back on location with Cactus for the next two days. Futuristic Films is shooting a series of TV commercials for Tri State Energy. I’m in the ‘VTR’ department today, using Crosspoint’s AJA Ki Pro for HD video playback. Jasper Grey is shooting ARRI Alexa – ProRes 4444 LogC.
This week’s Awesome Vintage Legal Ad comes from a Galaxy Far, Far Away. A young padawan, getting her bachelor’s in Mind Trickery (from Metro State, no less), is worried about her now-unemployed Jedi father after a nasty speeder accident. With no income, debt out the wookie, and the likelihood of becoming Jabba’s sex slave; the cost of a lawyer is obviously a concern to her. I would also be concerned at the law book this lawyer is referencing. Vol. XXX? Can’t be a good sign.
What a coincidence… Luke’s doppelgänger also cuts in F-C-P, baby, FCP!! via @silveradosys
Sukle Advertising & Design partnered with Futuristic Films to produce and shoot a series of spots pleading to the smokers of Wyoming. The spots were shot on Canon 5DMkII HDSLR and off-lined at Futuristic. The spots were then color-graded at Crosspoint by Senior Colorist, Eric Anolin, in Baselight. Final Cut Pro conform and online edit was done by Luke Bishop. 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
Originally when I started this series, I did preface that content updates were subject to my availability. Alas, I have found some time to continue with the third installment of the “Awesome Vintage Legal ad of the Week” series. This week (month…Year…) we touch on the darker side of legal advertising. The scene starts and ends on the protagonist in a dark room, peering out the blinds, reciting scathing lines of anguish and revenge. His face, half in darkness and half in fragmented light, symbolizes the duality and fragmentation of his fragile state. The blocking portrays a character longing for a normal life, but is tormented by anger and imprisoned by darkness and fear. The actor obviously referenced his high school performance of “Hamlet” in preparation for this role. LB