Tag Archives: 72andSunny

Tom Dunlap, Gui Borchert lead Hecho Studios, formerly Hecho En 72

Hecho En 72 has expanded its North American operations to allow for continued growth in both Los Angeles and New York. It will now be known as Hecho Studios under the MDC Partners network of companies. Hecho, is a content development and production company that originally was grown as part of 72andSunny, but is now a separate entity. While they still work closely, and share the same space in New York and LA, they operate independently.

As part of this growth, Tom Dunlap, who was previously chief production officer at 72andSunny, has assumed the position of managing director of the company. He will be responsible for driving all aspects of growth, operations and production.

Hecho Studios will be led creatively by executive creative director, Gui Borchert, who most recently served as group creative director at 72andSunny for the last four years, working on projects for Starbucks, Sonos and the LA Olympic bid.

“In a time where marketing takes any form, how brands make content is just as important as what they make,” says Dunlap. “We have built and are growing Hecho Studios to help brands amplify creative opportunities and modernize production and content creation to maximize quality, efficiency and impact,” says Borchert.

Hecho’s past work includes the production of Sugar Coated, a short documentary featured in 18 film festivals in partnership with 72U, two Emmy nominations for their work on Google — Year in Search, editorial, print and product design for the award-winning LA Original campaign, and the recent short parody film featuring Will Ferrell and Joel McHale for The Hammer Museum at UCLA’s latest exhibition, Stories of Almost Everyone.

Hecho’s production offerings includes building models based on the client’s creative needs. This can range anywhere from a small table-top product shoot to a large scale narrative film and include live-action, photography, stop-motion, time-lapse, narrative, documentary and both short and long form.

Hecho offers full service audio post, specializing in commercial and branded content for broadcast TV, cinema, digital and radio. Their studios are equipped with two Avid S6 mixing consoles and JBL-M2 surround stage (7.1, 5.1) and spatial audio (VR) capabilities. Services include sound design, mixing, field recording, Foley, voice-over/ADR recording, Source-Connect/ISDN and music editorial and licensing.

Hecho’s post offerings include editorial, motion graphics and finishing. Their edit suites integrate all editing platforms, including Adobe Premiere, Avid and Final Cut Pro. Their motion graphics team uses After Effects, Cinema 4D and Maya animations. Hecho has two Flame suites to address requests for clean-up, conform and VFX. They also use Blackmagic Resolve for color grade needs.

Main Image Caption: (L-R) Gui Borchert and Tom Dunlap.

72andSunny adds audio and editing suites

Creative company 72andSunny has added 13 new uncompressed-4K video editing suites to its Los Angeles office. Part of the large-scale project also includes three new audio mixing and sound editing suites, two of which feature RedNet Dante network interfaces from Focusrite. The installation was done by MW Audio Visual.

The company’s video editing suites vary in terms of tools. “We designed and built our edit suites to work in a number of editorial pipelines,” says John Keaney, director of Hecho En 72 operations at 72andSunny, which is their in-house studio and bespoke production unit. “Because certain projects are better suited for one editorial platform than another or the talent for a particular job may be stronger in one system than another, we built our systems to handle a few different operations.”

Their two main editing systems are Avid Media Composer 8 and Adobe Premiere Pro 9.2 (Creative Cloud 2015), but they will call on other editorial, motion graphics and audio applications as needed.

“With 12-core Mac Pros, ultra widescreen LG monitors for our project files, HP DreamColor monitors for editor playback, 55-inch Pluras for client playback, Blackmagic Ultrastudio 4K capture/playout devices and a Quantum StorNext SAN with SAN Fusion, we have a systems infrastructure that is compatible in either Avid or Adobe environments,” reports Keaney.

In terms of sound, one of the new audio suites is a full cinema post production and mixing studio, featuring a JBL 4722 cinema monitoring system and a Panasonic laser projector. A second studio, used for recording and mixing, uses the same Avid S6 console and Pro Tools HDX system as the cinema studio. Flanking the suites are two voiceover booths.

“The client wanted to be able to route any audio from either studio or either booth to any other location, instantly,” says Michael Warren, president of MW Audio Visual. “There is a RedNet 5 in the console rack in each studio and a RedNet 4 in each V-O booth, with a digital snake attached to the DB25 inputs of the RedNet 4 units. These are also connected, via shielded Cat-6 cabling, to Cisco switches that we have in each control room, V-O booth and rack. So we can matrix the audio from anywhere to anywhere, through the RedNet units.”

In fact, adds Warren, 72andSunny can send its audio anywhere in the world from there, through a sharable SAN that connects its entire campus and out to any other location via the Internet. “This is the new face of media workflow,” he says. “People are creating content for television, cinema, online — it doesn’t matter. It’s all about their ability to connect with each other and share the process, between rooms, across a campus, or globally.”

72andSunny’s clients include Google, Samsung, Activision, ESPN, Starbucks and Samsung.

Blur creates CG mischief, heroics for Skylanders spots

Ad agency 72andSunny called on Blur Studio to create CG characters and environments for two new 30-second commercials promoting Activision’s Skylanders game. Blur‘s Jeff Fowler directed Inside the Trap and a Trapping Kaos. Both feature a mix of live-action and CG as well as a fight between good and evil. It took 30 artists less than two months to complete the segments for both spots.

Jeff Fowler

Jeff Fowler

According to Fowler, “Blur’s Skylanders project began with one of our CG supervisors coming to my desk and saying, ‘If we don’t do this commercial, my son will never speak to me again.’ Never ones to shatter the dreams of children, our production staff quickly figured out a plan to fit this project into a VERY busy month for us. Sometimes the craziest schedules yield the most rewarding results, and our entire team was extremely proud of what we were able to accomplish in six weeks.”

He continues, “Working with a tough little veggie warrior and a powerful super-dwarf armed with Traptanium-infused hammers spurred our creative energy to create something like none other. We had a blast bringing a little mayhem to the world of Skylanders, where we built a village and staged a cinematic battle scene between Gulper and Food Fight.”

“Both Blur and 72andSunny are built around collaborative cultures so we were all quick to jump in together, start laughing and shape where we wanted the project to go from the outset,” reports 72andSunny creative director Tim Wolfe. “It made for amazing sessions where everyone had a voice, egos were left at the door and we were all only interested in making the best video humanly possible.

Blur_Skylanders_03 new small Blur_Skylanders_04new small

“The level of visual detail and character development Blur brought to the project was incredible. They took an already rich and fun world of Skylanders and turned up the volume helping us make something truly unique and ground-breaking for the category,” said Wolfe.

Human Worldwide provided the music and sound design, while Sound Mix Lime Studios supplied the mix.