Tag Archives: Flame artist

VFX house Jamm adds Flame artist Mark Holden

Santa Monica-based visual effects boutique Jamm has added veteran Flame artist Mark Holden to its roster. Holden comes to Jamm with over 20 years of experience in post production, including stints in London and Los Angeles.

It didn’t take long for Holden to dive right in at Jamm; he worked on Space 150’s Buffalo Wild Wings Super Bowl campaign directed by the Snorri Bros. and starring Brett Favre. The Super Bowl teaser kicked off the pre-game.

Holden is known not only for his visual effects talent, but also for turning projects around under tight deadlines and offering his clients as many possible solutions within the post process. This has earned him work with leading agencies such as Fallon, Mother, Saatchi & Saatchi, Leo Burnett, 180, TBWA/Chiat/Day, Goodby Silverstein & Partners, Deutsch, David & Goliath, and Team One. He has worked with brands including Lexus, Activision, Adidas, Chevy, Geico, Grammys, Kia, Lyft, Pepsi, Southwest Airlines, StubHub, McDonald’s, Kellogg’s, Stella Artois, Silk, Heineken and Olay.

 

ArsenalCreative beefs up with head of 2D Chris Noellert

LA-based ArsenalCreative has brought on Chris Noellert as head of 2D. He brings with him over 20 years of experience in VFX, Flame and post. During Noellert’s two-decade career, he’s been a Flame artist and served as VFX supervisor at shops including Chimney, Syndicate, Mirada Studios. Most recently, he spent nearly four years at Carbon VFX, where he held the title of creative director/lead Flame.

At ArsenalCreative, Noellert had already worked on the “Not Just New, Better” campaign for Hyundai, continuing his longtime collaboration with agency partner Innocean. “I had done a fair amount of work for Innocean at my previous shop, including leading two of their three Hyundai Super Bowl ads, First Date and Ryan Town, and over the years we really hit a nice stride,” he says. “It’s fantastic when you have the opportunity to consistently work with creative directors and teams where you have developed a creative shorthand. You can anticipate and fulfill their needs successfully thru the project — from concepting and participating on-set, to sitting in the bay and pulling it all together. So when Innocean called with ‘Not Just New, Better,’ I was super excited to get them introduced to my new cohorts at Arsenal.”

In addition to the Hyundai and Principal Financial campaigns — Noellert led the revamped logo rollout and brand campaign — ArsenalCreative is also releasing 17 web films for Toyota in partnership with Saatchi & Saatchi LA and Superlounge’s Jordan Brady.

“From the outset, I was looking for an established boutique-style shop positioned to expand into the latest media trends and technologies” he explains. “I also knew I was looking for a shop that fosters open relations with clientele – allowing me to take a collaborative leading role in the creative process, not being the guy in the Flame suite in the corner at a two-man shop, or a cog in a wheel of hundreds.”

Veteran Flame artist Toby Brockhurst joins Zoic

Visual effects house Zoic Studios, based in Culver City, has added Flame artist Toby Brockhurst. With over two decades of experience, he has worked on effects-driven spots for major brands such as Kia, Guinness, Volvo, EA Sports and BMW, and worked for top shops including MPC, Framestore, The Mill and Method Studios.

He has also worked on music videos — for Tori Amos, Air, Annie Lenox, George Michael, Jamiroquai and Missy Elliott — and feature films, such as Transformers 3D, Pearl Harbor, Chronicles of Narnia: Prince Caspian, Harry Potter and The Big Lebowski. Recent work out of Zoic includes spots for Jeep, Samsung and Sony PlayStation.

From a spot promoting PlayStation's first-ever series "Powers."

From a spot promoting PlayStation’s first-ever series “Powers.”

Zoic executive creative director/partner Chris Jones, says, “Toby is a great addition to the Zoic commercial division. He’s the perfect mix of artist, technician and the guy you want by your side on set and in the bay. We’re incredibly lucky to have him on board.”

After spending his youth as a shepherd on his family’s dairy farm in Wiltshire, England — yes, you read that correctly — Brockhurst earned a degree in architecture and traded in his crook for a computer when he interned at VTR London. He spent nights and weekends learning the Quantel Paintbox, then Harry, and quickly moved up as an artist, eventually jumping on the Flame in 1995.

Brockhurst spent a number of years bouncing between London and the US, directing, VFX supervising and, of course, providing Flame work. He eventually succumbed to the need for vitamin D and has resided permanently in Los Angeles since 2011.

‘Banshee’ associate producer Gwyn Shovelski talks VFX

By Randi Altman

For those of you lucky enough to have discovered Banshee on Cinemax, you know just how fun a ride it can be… and just how violent. The amount of blood spilled would make Quentin Tarantino proud.

The show recently finished its third season run of action-packed goodness, and while the episodes featured many in-your-face visual effects — I urge you to search for “Chayton’s Death Scene” on YouTube — courtesy of Zoic Studios, there were also many effects that were just, well, face effects.

If you are a viewer, you know that most of the characters aren’t who they appear to be, and the audience is let in on their back stories via flashbacks. That is where Technicolor Flame artist Continue reading

To rent or buy? That is the question

What best fits your studio’s needs is a personal choice.

By Fred Ruckel

When it comes to production, there is always a debate about whether to buy equipment or rent it. RuckSackNY has faced this dilemma many times over the years and recently we decided it was time to take the plunge — we are now investing in the gear we would often rent.

This decision was not taken lightly and didn’t happen overnight because our choice wasn’t a cheap one. For me, it all comes down to quality control and consistent shooting. Over the course of the year we shoot as many as 20 times, which might not seem like a lot to some, but for a little company like ours it means constantly hiring crews and equipment.

Continue reading

Paul Marangos brings his Flame expertise to Hooligan in NYC

Paul Marangos has joined New York editing and VFX boutique Hooligan as senior visual effects Flame artist. He has over 20 years of post experience, with an eight year tenure at The Mill and stops at London’s Cell, LA’s The Finish Line, Johannesburg’s Blade and Scarlet in NYC.

He has already wrapped up several projects with Hooligan, including commercials for Citi and Match.com, and Indrani’s short film Crescendo, curated by Pepsi in conjunction with the 2014 FIFA World Cup.

Match

“I’ve always enjoyed working with editors, and Hooligan provides me the opportunity to step out of traditional facilities and work directly with them in order to continue doing what I do best,” says the South African born Marangos.

“Paul always seems to be way ahead of me,” adds Kane Platt, president/senior editor at Hooligan. “He always knows what I’m working on and what the creative challenges are, and will call me into to his room to look at wonderful visual ideas before I’ve even started cutting. It’s an enthusiasm that one rarely finds — and it usually leads to great things.”

Over the years Marangos has contributed to commercials for brands such as Nike, BMW, Taco Bell, Lexus, Honda, Guinness, Cadburys, Samsung and Pepsi. His advertising reel is highlighted by Nando’s Cannes Lion-honored “Dictator” campaign and FNB’s 2010 World Cup ad in which he seamlessly composited a full stadium using only 150 people.

Marangos has also worked on graphics packages for major networks and TV shows, including the Sucker TV, and the 2001 feature film “Hannibal. His special effects work can be found in music videos for Oasis (Right Here, Right Now) and Mariah Carey (My All), as well as Björk, Madonna, Goldfrapp, Kyle Minogue, Radiohead and Elton John.