One of the first major challenges was rigging the aircraft to move realistically in the air. Yaw, pitch and roll become complex maneuvers when trying to manipulate a 3D model aircraft through a space that is relatively 10 – 100 – 1000 times larger.

Once the aircraft were modeled and rigged, the first step was to audition good live action cloud footage to use as backgrounds for our aerial shots. We had to find footage that matched the tone of our spot and that matched the direction and choreography we needed for each shot. We often had to try and color grade many different sources to make everything feel similar. After shots were chosen and processed we were able to start animating our 3D jets.

Visual FX progression of 3D animated F-18′s flying in formation over the cloud deck.

Final rendered and color-graded CGI shot as F-18′s break away from “camera” chase plane!

Based on the lighting in the cloud shots we had chosen, we constructed high dynamic range images and reflection maps to help light the planes realistically. We had to pull lighting information from cloud formations to try and understand things like sun direction and color temperature, as well as shadow information. Once the light rigs were constructed, we could drop our 3D planes into the scenes and they would naturally feel like they were part of the environment.

Anatomy of a visual FX shot showing progression from live-action plate, sky replacement and rotoscoped ground crew, to wireframe composition of F-18 and openGL shaded view.

Lighting was rendered in Autodesk Softimage XSI using Mental Ray and a combination of physical sun and sky data as well as our own HDRI, Final Gathering, and global illumination light setups. Using a proper linear workflow, we were able to get the compositors the most latitude with which to perform final color grade, cloud compositing and visual FX in post.

Finished rendered scene with environment lighting as F-18 undergoes preflight, control surface and systems checks.

On the shots of the plane taking off, we decided we didn’t want to use any stock selections. Trying to recreate the entire airport in 3D would not be as realistic as shooting accurate live-action plates.

Instead, we chose a local airport and researched photos of it with google earth. Knowing the orientation of the runway, the sun direction, and relevant distances, we were able to map out a plan of where and how to shoot a take off and runway taxi shot. We wanted to be sure to move the camera accurately as a plane would as it moves from 30 – 300 MPH. Once we had calculated the take off speeds and distances, we booked the airport and shot the plates on our RED Epic camera.

3D computer generated F-18 Hornet taking off from live-action runway plate shot. Note the atmospheric heat distortion visual FX from the afterburners.

In post, matching the live-action airport plates up to our rigged F-18 was now trivial. Because we had measured and done our homework, we simply plugged in the distances and numbers we had already chosen days before and the shot lined up nearly perfectly. With only a few details to iron out, we were able to exactly match the angle, FOV, and camera move perfectly and our plane dropped right into the scene. As part of the F-18 rig, we completely setup the landing gear to function accurately. This was done so that when the plane actually lifted off the ground, we’d get visual confirmation when the wheels and suspension dropped down and started to retract up under the plane.

For the cockpit shots, backgrounds and environments were completely synthetic. Our F-18 model featured a fully detailed interior so we were able to use it to place our pilot inside a true F-18 cockpit. This also made it easy to be sure the wings, flaps and tail surfaces were all placed accurately according to how they’d look from inside a real F-18 cockpit.

Wireframe view in Softimage XSI of fighter pilot in the cockpit, showing inverse-kinematics rigging, subdivided poly model and hardware shading.

Our pilot was modeled and textured inside Softimage XSI and once we combined him with a proper helmet, he was rigged to be able to move inside the cockpit. His entire upper body was rigged for full articulation but since we agreed we’d never see the underside of his body, we didn’t put any rigging in for it. We also rigged his entire helmet and face mask to accurately reflect his movement in the cockpit so the hoses and buckles would move realistically as he moved his head around. For this we used a variety of simple spline rigs and implicit shape deformers inside the enveloped model. It ended up being a fairly simple yet physically accurate solution.

Fully rendered final frame from the cockpit view of pilot. Cockpit glass reflections, atmosphere depth-cueing, image-based lighting, ambient occlusion and carefully textured materials really amp the realism.

Backgrounds for the cockpit shots were generated from a variety of aerial photography and maps. Horizons and skies were created with photos and color gradients in Photoshop. Visual FX such as passing through clouds and other atmospheric effects were created in After Effects and served to help layer the shot for additional realism.

HDRI and Mental Ray’s physical sun and sky shaders were again used to help light the pilot inside the canopy. We processed a variety of reflection and canopy distortion passes as well to correctly bend the light and reflections passing through. Sub surface scattering and architectural shaders rounded out the skin and helmet materials respectively.

This challenging project is a perfect example of the tight integration required between production and post, in order to pull off shots of this complexity. We are proud to have been entrusted to handle all aspects of production, design, visual FX and finishing for this terrific campaign.

Client: Valero Energy Corporation
Agency: 180
Director: Murray Breit
Production Manager: Fernando Cano
Director of Photography/Colorist: Zach Nasits
Senior Editor: Jeff Chesnut
Visual FX: Martin Jaeger, Jeremy Kenisky, Rudy Martinez, Joseph Schaertl
Animation Director: Troy Davis
3D modeling/Animation: Jeremy Kenisky
Technical Direction: Jeremy Kenisky
Production Coordinator: Alycia Phair

RED Epic camera

The camera itself isn’t much larger than a Kleenex box and weighs in at a mere 5 pounds before you put a lens on it. But inside this little box and instilled deep within the R&D is great potential for RAW image capture that expands its versatility with incredible latitude comparable to that of film (were seeing about 15-17 stops in some situations).

5K RAW image data “digital negative” as viewd in REDlog film, LOG color space.

The image after color grade and output to Rec-709 color space for finishing this spot for Taco Cabana.

After running our RED camera through extensive tests, we have begun implementing it into our everyday live action projects for clients like Valero Energy Corporation, Taco Cabana, and HEB. The proof was in the pudding! Not only have the aesthetic results proven to be great, but various cinematographers have also commented on its versatile performance and the way the camera was built from an ‘on-set’ functionality standpoint. The camera has the ability to shoot 5K motion as well as 120 fps in 4k and even 300 fps in 2K!

Epic being fitted on the Chapman G-3 Gyro stabilized head and “Lenny” crane arm.

Epic camera and crane operators heading out for a challenging shot.

Epic camera swinging into action on a recent shoot for Valero Energy Corporation.

RAW sensor data in LOG space prior to color grade and visual FX.

Shot after color grade with graphics tracked and composited. Tracking software loves the 5K resolution!

Rich oversized imagery allows panning and scanning in post-production, which gives you a second framing opportunity. High image resolution benefits visual effects work like keying, tracking and compositing. Color grading RAW images allows extreme fidelity and flexibility. Additionally, we are able to pull 5K 32-bit tiff images from the RAW footage for use in printed collateral, direct mail, and even billboards! (This technique was implemented in a recent VOGUE spread featuring Lady Gaga.)

5K .TIFF image extracted from color graded Epic footage for use in a print campaign for Taco Cabana.

We vouch that if you aren’t shooting RED Epic, then you’ll have to thaw out some old film cans in the freezer to reach this look and experience. While we sometimes miss film and are occasionally nostalgic for the smell of our Harrison changing bag, we sure don’t miss the all too common races at the end of the day, trying to get ‘today’s film’ on a plane to meet processing deadlines… Our clients definitely don’t miss the processing costs!

The future is here at Geomedia. Come try on some Epic love for your next project and get the BIG picture!

Inspired by the vision of Solid Waste Management Department’s staff,  the resulting commercial is a straight-forward concept to get the recycling message out to San Antonio’s new recycling participants.

On first glance the spot looks simple enough.  But actually there are quite a few of visual effects, compositing elements and rotoscoping techniques used throughout the commercial.   We think the best effects are the one that aren’t noticed.

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