Friday, December 20, 2013

Aero spreads Holiday magic with Wells Fargo

Always nice to have the family together at the holiday. We at Aero took this to a whole news level with the holiday spot we produced along side DDB-LA for Wells Fargo. Klaus Obermeyer was the director and brought on fellow Aero director Sam O'Hare for his VFX expertise (with the help from his crew at Aero Studios--which is being rebranded as Parachute in 2014!.. more on that later), and Aero alumni Bob Jenkis for the edit.


We do not condone snowmen smoking. It was just bubbles. We swear.

As you can imagine, it's not that snowy in Southern California in October... or really anywhere in the world. It's that sweet spot of entering spring in the Southern Hemisphere and still too autumnal in the Northern. So... With a mix of practical FX and movie magic, the winter landscape was born! We did a break down to show what was shot and what was CGI. Klaus oversaw the production from start to finish with Sam creating the pre-visualization with him and finishing all the VFX.
Nom nom nom nom nom. 

The shoot took place over one night and one day and the VFX took 4 weeks. There were a few late nights...



Sam O'Hare and Jesse Holmes (VFX lead) catch a nap. Totes adorbs. 

You can excuse the snoozy-ness when you consider this is what they'd been doing...

 Before...
 After!
 Kinda sad...
Magical!! and he got a new hat. Thanks, CGI. 

Other credits include Siggy at Company3 LA did the color grade; Jeff at Eleven Sound was the sound designer and mixer; HUM music scored the beautiful track.

Fun tidbits from the shoot... The dog was AMAZING. Her name is Jules and everyone wanted to take her home. The kids are really that cute. There were 28 horses in this production, and they were treated better than most people. And they really do like carrots... a lot.


From all of us at Aero Film, have a very happy holiday and we wish you the best in 2014!!!



Tuesday, November 5, 2013

Aéro Film's James Mangold Enlisted for Call of Duty

A client asked the other day, “Do you ring a giant bell when you’re awarded a job?” I laughed and played it cool. (I may have a train whistle… Unsubstantiated rumor…)  It’s always amazing to win (yes “win”) after you put so much work into a treatment and approach. When James Mangold was awarded the Call of Duty Ghosts Trailer, we didn’t ring a bell. We pretty much went apeshit for about 10 minutes. Which was all the spare time we had before we had to make some magic happen… and blow stuff up.


Epic Night Out

As Jim (you can call him Jim) explained to Variety , “As much as [the spot] was spectacle based it was character based… You want people to identify with these young men in this story in a way that they’re seeing themselves. They’re not seeing famous people, they’re seeing someone that looks like them in a hybrid where the game has become so actualized.” Activision and Jim wanted the spot to emphasize “the sense of being your own hero in your own film,” Jim explains. “Your Gregory Peck in ‘The Guns of Navarone.’”

The spot is choreographed to the Frank Sinatra song I’m Gonna Live Until I Die. It’s a little known fact that Jim is a big fan of musicals, and treated the spot as one. “There was a tremendous effort to create a tour de force action sequence set to something recorded by one of the great singers of all time,” Jim said. “It separates the spot instantly and gives it a swagger.”

There was one celebrity cameo with Megan Fox, as Ghosts has female characters for this first time in the COD franchise. Jim has a habit of directing women straight onto the Oscar stage (Angelina Jolie, Reese Witherspoon) so Megan, get your speech ready.


Megan Fox and the luckiest SAG Actor in the world. 

The crew was a collection of Aéro Film all-stars—line producer Mary Church has also produced for Austin Smithard, Jason Farrand and Sam O’Hare. Kramer Morgenthau, DP, has worked with Jim in the past in the TV show “Vegas” for CBS. (He’s nothing like Kramer from Seinfeld…) The edit was crafted by Jono Griffith, co-owner of Circus Edit NY/London (repped by Union Edit on the West Coast). You’ll recognize Jono’s work from the Grand Prix Lion winner Canal+ The Bear. The Mill LA crafted the VFX under the supervision of Oscar-nominated VFX supervisor, Phil Brennan. Phil and Jim worked together on The Wolverine. In typical Aéro family style, Jim called on resident snow expert Klaus Obermeyer to help out on the snow racing sequence.


The team from 72andSunny was hands down amazing, and the whole production was deeply influenced by Activision Publishing CEO, Eric Hirshberg who prior to his current role was CEO/CCO of Deutsch LA. To say there was an embarrassment of riches of creative minds on the set is an understatement. Egos were left at the stage door, and everyone just put their heads together to make something to be proud of. (Can I end that sentence with a preposition? “Of which to be proud” just sounds douchey… This is why I’m a producer and not a writer. Bygones.) Many thanks to everyone who worked on this group effort. Eric Rasco at 72andSunny deserves a metal of honor for pulling this off.  (Full credits below!) 


Jim and Jono, the new dynamic duo, are available for their next project, so give us a call anytime. It's time to go apeshit again. 

Full Credits here:



Agency: 72andSunny
Client:
Activision Call of Duty
Production Company:
Aero Film
Director:
James Mangold
DP:
Kramer Morgenthau
Executive Producer:
Lance O'Connor
Line Producer:
Mary Church
Editorial:
Union Editorial
Editor:
Jono Griffith
Junior Editor:
Jason Lucas
President/Executive Producer:
Michael Raimondi
Senior Producer:
Joe Ross
Visual Effects:
The Mill - LA
Executive Producer (VFX):
Sue Troyan
Producer:
Leighton Greer
Coordinator:
Antonio Hardy
Creative Director (VFX):
Robert Sethi
2D Lead Artist:
Chris Knight
2D Lead Artist:
Daniel Thuresson
3D Lead Artist:
Felix Urquiza
3D Lead Artist:
Chris Bayol
3D Lead Artist:
Jacob Bergman
3D Lead Artist:
Ashraf Ghoniem
3D Lead Artist:
Thom Price
Colorist:
Adam Scott
Mix:
Lime Audio
Mixer:
Rohan Young
Assistant:
Jeff Malen
Sound Design:
The Formosa Group
Supervising Sound Designer:
Per Hallberg
Chief Creative Officer:
Glenn Cole
Executive Creative Director:
Frank Hahn
Creative Director/Writer:
Josh Fell
Creative Director/Design:
Rey Andrade
Lead Writer:
Jeremy Wirth
Writer:
Matt Spicer
Designer:
Will Lindberg
Junior Designer:
Drew Vaughn
Lead Strategist:
John Graham
Chief Production Officer:
Tom Dunlap
Director of Film Production:
Sam Baerwald
Executive Producer:
Dan Ruth
Senior Producer:
Eric Rasco
Director of Business Affairs:
Christine Claussen
Business Affairs Manager:
Jennifer Jahinian
Group Brand Director:
Mike Parseghian
Brand Director:
Luke Lamson
Brand Manager:
John Moloney
Brand Coordinator:
Justin Gonzaga
CEO:
Eric Hirshberg
EVP/Chief Marketing Officer:
Tim Ellis
SVP/Consumer Marketing:
Todd Harvey
Senior Director/Consumer Marketing:
Matt Small
Director, Consumer Marketing:
Carolyn Wang
Consumer Marketing Manager:
Karen Starr
Associate Consumer Marketing Manager:
Andrew Drake

Friday, October 11, 2013

Klaus Obermeyer in Alaska

Aéro Film has been to Alaska quite a few times. Sam O'Hare shot the Alaska Communications campaign last year (and this year... stay tuned). Klaus Obermeyer has shot there for many years with Warren Miller films, Chevy Silverado, and just went back for a project that will remain nameless for the moment. (I'm all about suspense today...) 

It's no mystery why Klaus keeps going back-- it's one of the most stunning landscapes in the world, and right now, one of the best places to shoot snow. 


 The Aéro jet and Daniel Zatz helicopter with Cineflex system.

Klaus in the glaciers of Valdez in his Obermeyer jacket. 

 I mean, come on. 

 Klaus, back to his roots, filming pro skiers.

Gorgeous. And the mountains are nice, too. 



Thanks to Mark Reid for capturing these photos. See you on the mountains!

Tuesday, September 10, 2013

Aéro Welcomes Andy Lambert

There are so many interesting things to say about Aéro's newest director, Andy Lambert. I think the best place to start is that his great-grandfather was a professional ventriloquist in London. Second, he was inspired to direct after seeing Luis Bunuel & Salvador Dali's film Un Chien Andalou. So, to say he has an original perspective on film making is pretty accurate. 


The one and only, Andy Lambert.

Andy began his career by directing TV documentaries for the BBC and Channel 4 before moving into fiction, directing two award-winning shorts. Andy then broke into advertising and began to carve a name for himself as a director of stylish, witty commercials with a particular talent for creating big, cinematic productions.

What type of work does Andy like? In his own words, "Story-based or vignette style, I love a strong idea to chew on, to hone, to hang out with, to play bar football against. Every job has its own peculiarities. It's like going back to zero each time and surprising yourself afresh. God is in the detail. Or is it The Devil?"


Andy in the middle, clearly directing. There are so many amazing facial expressions in this, 
I don't know where to start... 

Detailed is certainly a perfect way to describe his workWith an ability to embrace iconic films and references to humorous effect, Andy’s work has become the benchmark for pastiche advertising. His highlights are ‘Deer Hunter’ for Revels (Revels being a bag of candy balls, which have different fillings in them... and you have no idea of which ball has which filling. Dramatic English candy...) and ‘Chitty Chitty Bang Bang’ for the DVLA (English version of the DMV) for which he won an APG and FAB Gold, and a British Arrows Craft Award respectively. It must be noted that he has an excellent zombie reel as well. How many directors can claim that?!

You can follow Andy on Twitter , and check out his short films and very short films at his personal website


Thursday, September 5, 2013

Sue Worthy Joins Aero Film

Gorgeous hair, beautiful skin and shimmering water are the serene scenes Sue Worthy is so well known for creating.  But in true Aero style, this soft side is balanced with Sue racing Ducati motorcycles. She fits riiiiiight in. 

Sue, sun and bikes. 

After graduating in Fine Art, Sue joined the BBC as a designer/director. She won every major industry award including a BAFTA for ‘Spring and Summer’, a Royal Television Society Gold for ‘Under the Sun’ and a D&AD Silver Pencil for her BBC 2 idents.

Directing TV commercials was a natural progression. Sue’s portfolio includes campaigns for leading clients such as Ford, Mitsubishi, Dove, Olay, Herbal Essences and Johnson & Johnson.

In recent years, Sue has focused her skills in the genre of ‘beauty’ where she combines her love of filming beautiful performance, with high-end cinematography and seamless in-camera effects.  The effortless simplicity of the end results often belies the complexity involved and she thrives on any challenge.
Dove "Silk" 

She mixes her love of art and motorcycles with oil painting race scenes, most recently of Valentino Rossi for a charity auction. 

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