After a few pre-pro meetings with the band, it was clear to everyone that Andrea would be the focal point of the visuals.  Her compelling stage presence is matched only by her amazing vocals.  We decided early on to feature Andrea’s performance in as many different settings as possible.   We faced the challenge of only having a single location to shoot, San Antonio’s Scottish Rite Temple.

After scouting the location director Murray Breit and Director of Photography Zach Nasits identified 6 unique locations inside the Temple that would provide the diversity desired.  Hair and Makeup Artist Donna Horner and Wardrobe Stylist Krista Ynostrosa designed a different hair, make up and wardrobe “look” specifically matched to each setup.  Add in a smoke machine, some oversized light bulbs, a baby grand piano, some kind of crazy cardboard covered bicycle wheel and at the end you have a music video with a nice variety looks.

Getting our gear into the Scottish Rite was no easy task.  The loading dock door is 8 feet off the ground. Why? Maybe check the ‘The Lost Symbol’ for the answer because we don’t know. Thanks to the crew, we loaded in without incident. Then it was on to the following locations.

The Parlor

The Window

Stage (Band Performance 1 Alone)

Among the Bulbs

Stage (Band Performance 2 Crowd)

Creative lighting techniques were handled smartly by our Gaffer, Ron Meneses.  The smooth tracking shots of the Chapman Pee Wee III+ Dolly were expertly provided by Greg Lomas.   Assistant Director, Jacob Esquivel kept the whole ‘circus’ moving and on schedule throughout the night. It’s also important to mention the tireless efforts of Matt Rasmussen, Rudy Martinez, Jeff Chesnut and Jeremy Kenisky and their work in a variety of roles. We had equipment help from Holtz Entertainment and the cool wardrobe selection was supplied by The Vintage House.  A delicious dinner break was provided by Asia Kitchen.
From setup to setup Andrea never lost her energy or enthusiasm.  Her emotional performance is authentic and can be experienced in every scene. Andrea’s determination to give her best performance each and every take had a positive residual effect on the rest of the crew.

A few days later we shot a few scenes with Andrea driving around the city at night to add to the overall mood of “Midnight Eyes”.

As with every shoot, we faced some problems and unforeseen challenges.  But everyone pulled together and came up with some quick solutions. When we wrapped we felt confident that we had captured some great images.  We all had a blast.
Next was editorial and color grading, here’s the end result…

In case you’re new to the band, Rose of Jericho has released 3 CDs to date.  Their music can also be found throughout the critically acclaimed video game Rockband for the Playstation and  Xbox consoles.  In fact, Rose of Jericho is Rockband Network’s featured ‘Artist of the Month‘ for September.  Their music is available at iTunes, Amazon and their website.

This years’ production featured live action with testimonials and personal accounts from the hospital’s patient, doctors, and staff. Through extensive research and hard work, agency Executive Creative Producer Joseph Guerra and senior Creative Director JC Cody felt all the stories were unified in that each of the patients’ testimonies were stories of survival, real-life examples of “Living Proof”.


The project presented challenging logistics from a production standpoint, but our talented team conquered each situation along the way. With only 8 days to prep the project we were able to successfully complete a three-day shoot on a schedule that more realistically should have required four or five days.

Our filming location was an ever busy city hospital so plans were often redirected as the next scene might included a doctor that would be unexpectedly unavailable “saving someone’s life” or our location needed to move since a surgery took longer than anticipated. Needless to say, our set wasn’t always a controlled environment and our AD team worked the schedule constantly to ensure that our shoot was successful.

We completed over 37 live action scenes with uncompromised blocking and lighting setups. ER’s, OR’s, research labs, MRI Labs, heli-pads, hospital exteriors, common areas, hallways, waiting rooms, limbo interview sets, designed home interior sets… You name it we shot it all at the University Hospital.

In addition to production, and integral to the success of the campaign, we also handled HD post production in-house. Creative editorial, color grading and subtle visual FX heighten the emotion of the poignant narratives, which culminate with “living proof” of each story’s happy conclusion.

So this one goes out to the entire production crew, AD, agency CD’s AE’s, etc. post production artists and the marketing team at University Hospital, who all made it possible.

Hope you like these commercials. Watch the the rest of them here.

Teaming up with Creative Director and Principal, Stephen Rybak of mdr, Geomedia produced a 30 second photography-in-motion spot that captures the atmosphere and excitement of a day at the ballpark.

Drawing inspiration from a storyboard concept and subsequent animatic designed by Geo’s Art Director, Martin Jaeger, we traveled to beautiful Corpus Christi and Whataburger Field where Director of Photography, Zach Nasits, and crew captured still sequence scenes of players, fans and stadium details to be incorporated in the final spot.

Geomedia Motion Graphics Designer and Editor, Joe Schartel, blended together  2D and 3D animation elements, composting techniques and organic transitions to take the viewer on a fast-paced journey of the sights and sounds of a Hooks game.

It was the agency’s vision to highlight the many areas of interest found in and around Whataburger Field.  The spot is filled with an abundance of iconic ballpark imagery, like Hook’s mascot Sammy Seagull, the swimming pool just beyond the right field fence, the majestic Harbor Bridge and many other unique amenities that make a Hooks game a fun family destination.

Related link: Corpus Christ Hooks Facebook Page

The lively project titled “Assembly Line” takes place in a virtual factory and follows the conceptual process and stages of the manufacturing of a San Antonio Spurs theme credit card.

The entirely animated spot utilized our full arsenal of 3-D and visual FX talent and software and is showcased during television broadcasts as well as in-arena at the AT&T Center.

SACU outlined their requirements and an original concept was created by Dirk Mitchell to cleverly focus attention on the client’s hero card throughout the entire spot. The story starts as a futuristic robot begins to laser-cut a sheet of steel. Articulated robot arms and hands manipulate the “blanks” onto conveyor systems that allow further development of the card.

To intrigue the audience and peak curiosity, multiple stages of manufacturing are incorporated to incrementally evolve the card. Stamping, embossing and plasma-etching are invoked as the SACU/Spurs card continues to progress. The spot concludes with a massive army of completed cards and the summon for Spurs fans to “Join In”.

Designer/Art Director Martin Jaeger illustrated the initial storyboard, designed and custom modeled all of the robot parts, fixtures and assemblies utilized throughout the commercial as well as handled visual FX, compositing and finishing. Troy Davis served as Animation Director as well as lighting and choreography designer. Technical Director Jeremy Kenisky assisted with layout and animation. In addition to video editing, senior editor Jeff Chesnut provided in-house audio editing and sound design.

Beyond the financial considerations, and perhaps even more important, owning the equipment (along with our Red One Digital Cinema Camera package) would provide us the freedom to be more nimble in helping a client ramp up a fairly elaborate video, tv or film production more quickly.

Not having to do two round trips to Austin for each rental wouldn’t hurt either. We were convinced.

So now that we’d decided that owning made more sense that renting, the choice came whether to buy a grip truck from someone or build our own.

We took kind of a hybrid approach.

First, Murray found a well cared for 2006 GMC W4500 at Enterprise Truck Sales. We then turned to ABC Truck for a new Dry Freight Van Body that would hold all our equipment.

At this stage we had what you might call a pretty basic cargo van with an Interlift Lift Gate.

Now…the interior.

Our Animation Director Troy (of Devo Hat fame) loves to build things in the real world as well as the virtual, so he took the lead from here and began by adding a custom 1/2 inch plywood layer to the interior.

To help secure our carts while we’re on the road, Troy custom cut 10′ horizontal E-Track pieces for the walls…

…and then we mounted some steel rails for hanging light stands from the rear swing-out doors.

As the interior continued to evolve, our DP Zach was busy putting together a plan for how to organize the truck (including finding a place for our Chapman Leonard Super Peewee III+ Dolly).

All that remained from here was a final quick trip to LA to acquire the remaining equipment needed to fill out the Geomedia Two Ton Grip Truck.

Nice work, Murray, Troy and Zach.

Point your mobile browser to “m.geomedia.com” on your iPhone or Droid to view the site and stay tuned for an upcoming in-depth look at the design and development of our new mobile platform.

The lights go down…tip-off is near. You’re the home team and you want your fans pumped up.

Geomedia was recently approached by the San Antonio Spurs to help do just that by creating a series of in-arena presentations including the player introduction video for the Lighthouse Jumbovision display at the AT&T Center.

The project started with development of our in-house creative treatment. The intro needed to be entertaining, but with the opening of the NBA 2010-2011 regular season only weeks away we also had to consider the tight deadline and how to feature all the team’s players. As Geomedia perused various concept directions, ultimately we had to be realistic about the time available to shoot each player. For a typical promo shoot, access to players is usually extremely limited; here we were only allowed a maximum of 5 minutes with each player.

Our original concept involved a “futuristic warehouse” and the individual players moving toward a unified destination. As the storyline developed and the Spurs Game Entertainment team selected Bon Jovi’s “This Is Our House” as the soundtrack, the stage was set and the entire AT&T Center became the players’ environment. While setting the players among iconic locations throughout the arena we focused on each player’s signature move and ultimately the team’s unity.

We were able to take advantage of Spurs Media Day to shoot all the players at the team’s practice facility. Geomedia DP Zach Nasits prepared two entirely separate green-screen sets to enable quick capture of both wide and close-up scenarios. To capture player emotion, ominous and intriguing high-contrast lighting was utilized evoking power and strength.

Murray Breit directed the action utilizing a pre-determined checklist of poses created to efficiently gather the required moves for each individual team member.

A three camera setup with two Red Digital Cinema cameras and one Sony EX3 was used to capture over 60 minutes of HD motion.

Editor Jeff Chesnut cut the green-screen footage into a quick-paced montage that became the backbone of the developing player introduction piece. Post production continued as the project entered the 3-D animation and compositing stages.

Through a combination of dimensional scene geometry and photographic plates, custom sets were constructed for each of the 14 players. Rudy Martinez combined multiple-exposure digital photos into clean high-dynamic range imagery that, combined with SoftImage XSI set extensions provided a dimensional environment suitable for synthetic camera motion.

Extruded and reflective 3D text placed into the sets provided visual interest as well as player identification. Live-action image planes were incorporated into the scenes to allow players to reflect onto set pieces including the floor and text.

Once animated backgrounds were completed Jeremy Kenisky removed the green screen and composited the color corrected players into the scenes. In addition, dramatic optical effects and camera movement were added to complete the visual treatment of each shot.

Using After Effects, Joe Schaertl created a team shot at the end of the piece by joining 14 individual shots of players into a unified crowd match-moved into an animated rendition of the AT&T Center’s main lobby. Martin Jaeger utilized Cinema 4D to construct and animate the heroic Spurs logo.

In addition the the main video, Geomedia also supplied the content for the 360-degree LED ribbon and digital signage that surrounds the court.

Thank you San Antonio Spurs for choosing Geomedia to team up with you on this project.

The APA turned to Geomedia to help them create the :30 TV spot that would drive this national ad campaign. The project turned out to be an interesting one for us and more importantly a successful one for the APA so we wanted to share some of the backstory with you here.

The concept for the commercial originated with the internal APA creative team and featured a husband and wife driving down a road where the road signs seem to predict inevitable misfortune. Everything seems to be going wrong before their eyes as they encounter bad weather, a rough road with endless hairpin turns, and no end in sight. But wait! A text message chimes in alerting them that their paycheck had been safely deposited and the world around them suddenly transforms to a place of beauty and color.

Nice idea APA. Like the way they use the images to tell the story.

Let’s get started.

Our first challenge was to find a place close to home that was wide open because just about every shot in our storyboard involved either the interior or exterior of an always in motion picture car.  

Our Picture Car

The location also had to be one that would down the road help us create the images of falling rocks, lightning strikes, and dangerous terrain that were vital to telling the story. More on that later.

To find a practical filming location, we began scouring the Hill Country West of I-35 from Austin to San Antonio. Though safety for our crew and talent is always a primary concern, we were once again quickly reminded during our location scouting of that infamous production axiom:

…that where ever man built roads, he also built power and telephone lines….

So after striking out on our first few candidates, we continued the search from just south of Austin to Wimberly, to San Marcos, to New Braunfels, before checking out Canyon Lake where we stumbled upon the perfect shooting location inside Canyon Park which is owned and managed by the US Army Corp of Engineers.

The park embraced a beautiful scene with awesome vantage point perspectives that would allow us to shoot from one hilltop to the next. Traffic control and lock-up would also give us the advantage of being able to shoot all day without too much interruption.

Finding the perfect location.

With our location approved, we filled out our own Geomedia RED ONE Camera Cinema Package by renting trusty old #11 from GEAR Rental in Austin, who also supplied specialty lenses, Grip and Lighting Package and Jib Arm. Keene Television and Film Services supplied the car rigging support for the car and lighting mounts.

With our toolbox now complete, we scheduled the shoot for one very ambitious day — filming from 8 car-mount positions, 2 crane set-ups, and several vantage-point shots captured with a Canon 400mm T4 telephoto lens. Assistant Director Tony Griffin and 2nd AD Donald Banks choreographed the ever-moving production convoy as Scott Hayes of the San Antonio Police Department lead the unit safely through the over 26 mile course.

(left) Our Crew getting "The Rig" ready (middle) "Hanging On"- Ron Meneses, Tony Griffin, and Jason Keene, (right) "Checking the Vantagepoint" – Zach Nasits- DP, with the APA Agency (Mark Coindreau-PR Manager, Erika Hurst-PR Coordinator, Ismael "Smiley" Garcia- Multimedia Manager, Bob Stover-Congress Production Manager

Jason Keene came on board as Key Grip and Gaffer Ron Meneses master-minded the rigging and lighting for the moving car shots. They were assisted by Roger Eickenroht and Eric Untersee. 1st AC Wes Turner managed the camera, and Donna Horner kept our people looking great with her talents in make-up.

Film Crew from (left to right) Wes Turner-1st AC, Tony Griffin-1st AD, (on ladder)Zach Nasits- Director/DP, Ron Meneses-Gaffer, Eric Untersee-Grip, (hidden) Jason Keene- Key Grip, Roger Eickenroht)

Creating practical effects on location or using tow rigs and process trailers with lighting effects and wind machines were outside the scope of this project.  And a poorman’s process trailer wouldn’t provide belief to the viewer without an even more elaborate greenscreen and photo-real compositing solution. Plus with over 90 straight days of 100+ degree weather and with no rain or clouds on the Doppler for months we were going to rely once again on the Geomedia 3D Animation/Visual Effect department to save our bacon.

Our first visual effects task was to create our overcast skies and lightning strikes.  We laid the groundwork for this stormy and “ominous look” with some in-camera setup on the Red One in conjunction with a Tiffen Cool Day for Night Filter. Sky replacement and lightning FX within the foreboding storm clouds were done in Adobe After Effects by Geomedia FX artist Martin Jaeger. Color grading to enhance the day for night effect were achieved in Apple Color.

Shot with Tiffen Cool Day for Night Filter with 3D Enhanced Skies

Next on the CGI agenda was building the fallen rock that blocks the road for our picture car. Tracking markers for the placement of the rock slide were set up on the road during principle photography. Boulders, rocks and debris were photographed and digitally composited into the final scene utilizing the tracking markers to match camera moves.

The Geomedia sound design team then scored the spot, created foley effects and tweaked the final mix down.

Here’s how the final spot turned out.

Thanks to the crew, cast and the great people at the APA for making this project such a pleasure to work on.

Kiko wanted a graphic look with almost painterly strokes as a metaphor for how this would turn out. We took inspiration from a variety of spots and ended up coming up with our own unique look and style for the client.

We decided to go with an “ink drop” effect, where color and detail would be added to a parchment like paper background through ink saturating it over and over again with a variety of colors and values. The first process in this was to create a realistic ink spreading effect.

We used Softimage particles along with a variety of After Effects turbulence and distortion filters, but decided it would be best to shoot real ink interacting with real paper to give the effect the authenticity required to sell it. We set up a rig to shoot the effect on camera. We ended up using a mirror at 45 degrees under a glass table to get the necessary angle without having hands and fingers interfering with the shot. We shot a variety of fluids, food colorings, papers, inks, and oils until we had enough versions of the type of effect we were looking for.

After digitizing the footage into the computer, we had to move on to creating the iconic Mexican urban landscapes that would be used in the spot. The client had sent us hundreds of images of Mexico City landmarks and places of interest. Rudy Martinez painstakingly rotoscoped out all of the buildings so we could use them in our 3D world. Troy then took all of the cutout buildings and created the 3D sets complete with roads, cars, highways, and various other urban elements to complete the look. Once the sets were finished, he choreographed the brilliant camera choreography and started rendering the shots inside Softimage.

For rendering style we chose to go nearly photorealistic. We would then take the photorealistic images from Softimage and edit them in After Effects to create our effects. For each render we would create several looks for it inside our compositor by running a variety of wireframe, cel shading, and other filters over it. By mixing our different variations of the same image, we were able to create a look that we could tweak over and over again without having to completely rerender the image should a change occur. It also made it possible for us to tweak certain aspects of the image over time, while leaving others the same to further the “painted on” effect.

I handled most of the After Effects duty with several cameos by Joe Schaertl, a Geomedia editor / compositor artist. By layering the ink blots and using them as luminance mats for the color passes of our rendered images, we were able to create a very fluid ink wiping effect. With control over opacity and subtle color changes, in addition to A LOT of finely tuned layering, the ink smoke effect became very believable and ultimately very beautiful to watch. By mixing our render variation layers back on top we were able to control where we wanted detail and color on every part of the screen.

The project garnered a bronze ADDY at the recent 2009 ADDY Awards Banquet here in San Antonio.

We were handed creative storyboards that included two :30 commercials and four :15 commercials. The :30 commercials featured life-style vignettes with the actual bank officers. The :15 commercials were more “abstract” concepts. They were boarded as single lock-down shots that portrayed HCSB’s relationships with their customers using local iconic imagery. These shots needed to be personal to the bank yet designed to keep the television viewers “dialed-in.”

The HCSB creative called for a “film-look.” so we bid the project for 35mm or 16mm film production, as well as an HD package incorporating 35mm film lenses to capture a more filmic, shallow depth of focus. The large format “cine-style” HD camera is more expensive to use than most comparable film packages but offers a net savings in post-production with no film transfer, printing, or shipping costs.

The HCSB client chose the HD “cine-style” turnkey production.

Our DP/production director Zach Nasits phoned our buddies at Gear in Austin, TX to order the Varicam camera package outfitted with 35mm film lenses. As an option, Kirk Miles, the camera technician at Gear, offered us the RED ONE camera for the production and mentioned that it would cost about the same as the HD package would with an add-on lens adapter and 35mm lenses.

In the summer of 2007, Zach had worked as a 1st assistant cameraman with the RED camera on a test shoot for Robert Rodruigez at Troublemaker films. Jim Jannard, the founder of Oakley and inventor of the RED, had brought down two prototype RED cameras: “Boris” and “Natasha” for Rodruigez to investigate. Zach mentioned that prior to that the only other people who’d tested the camera before Rodruiguez were Steven Soderbergh and Peter Jackson. Both would go on to shoot features with the new camera, with Soderbergh receiving accolades at Cannes for his films “The Argentine” and “Guerrilla”

With a RED on order for months now, we had been waiting for the perfect opportunity for a first production with this revolutionary format. Many early adopters were posting positive reviews on the RED’s performance in the field but working with the 4K format in post would present new challenges. We agreed that shooting 4K would be an attractive option for the HCSB production. We proceeded to work out the post workflows and integrate new hardware and software into the pipeline.

Zach and I headed up to our Austin offices and performed tests at Gear offices, investigating the RED camera’s latitude, formats, frames per second, ASA’s, depth-of-field, and pure “user-friendliness” before sending the RAW footage back to Geomedia’s main facility in San Antonio, where we would push the 4K files through post-production and test finished output.

Testing proved extremely successful… It was time for Geomedia to paint HCSB’s television campaign RED!

“It was handled a lot like a film job” said production coordinator Murray Breit. “We synced sound by clapping slates. Zach metered light just like we were using film… We sent the footage through a digital in-house 4K tele-cine process and everything looked amazing! We were able to do everything, start to finish, right here. Breit added “The process we developed for editing, color grading, conform and finishing worked perfectly… Most importantly the project came in on time and on budget and the client was very impressed with the quality of their new spots.”

Geomedia utilized the RED camera on location the day after the HCSB shoot for a commercial for Fuse Gym based in San Diego, CA. The RED camera package consisted of Zeiss Super Speeds, an Angenieux 10:1 zoom lens with full film camera support. Zach captured 4K at 500 (ASA) to have more latitude into the high-lights and rated the camera at 160 ASA as a result of their camera tests.

He explains the differences between each concept and clients needs, “It’s great that we had consecutive shoot days and got to capture two completely different looks with this camera… HCSB was more conventional beauty shots while Fuse was way more gritty.. shooting a 6 stops ratio.”

With a set of Super-Speeds on the way and a full slate of RED shoots on the books, we are more anxious than ever for “our” RED ONE #2357 to arrive at our door! We have not decided on any names for “her” yet!!