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32 Post • March 2014 www.postmagazine.com postings MatchMaker O AKLAND, CA — Production and animation studio 1/29 (www.129films.com) recently produced a new cin- ematic spot for Orbit Baby strollers that elevates the company's image as well as subtly shows the versatility of its products in a real-world environment. Inspired by filmmaker Terrence Malick's work of sweeping landscapes and dream-like states, Matchmaker follows a young couple as they travel around San Francisco with their two young children and their incredibly-versatile stroller. The :60 has no dialog, but instead focuses on loving moments shared by the family. Ross Thomas directed the spot, as well as served as its editor. In the past, Orbit's commercials have focused on functionality, whereas this effort puts the story of the family first and the product less prominently. The spot was shot with a Red Epic using Zeiss lenses, and was edited in Adobe Premiere. Motion graphics were created in After Effects, and SpeedGrade was used for color correction. The video debuted in January and features a soundtrack by composer/sound designer Harald Boyesen. BuBBlY L OS ANGELES — Mixed-media production studio Roger (www.roger.tv) lent its animation and comedic skills to a launch teaser campaign for Chozen, the new animated FX series, which pre- miered in January. SNL cast member Bobby Moynihan voices the title character, a gay, white rapper who's fresh out of prison and trying to reclaim his position as the world's best rap artist. The promos use a blend of live-action and animation that work together to tell and sell each joke. In Bubbly, Moynihan, along with cast members Method Man (who identifies himself as Ashlee Simpson) and Nick Swardson announce the upcoming animated series. Random cartoon objects pop up as they talk, including angel wings, a stream of cash, and exploding champagne bottles. In another promo, Moynihan completely transforms into the cartoon character. FX tasked Roger with enhancing the story of Chozen through visual gags and animated transi- tions within the live-action promos. In addition, Roger provided on-set VFX supervision during the shoot in NYC. On top of illustrating the actors' actions, Roger threw in a few extras. In addition to using Flash assets provided by the client, they also created a library of new artwork. the truth L OS ANGELES — Digital Domain (http://digitaldomain. com) provided VFX for a new Matrix-themed Kia spot that debuted during Super Bowl XLVIII. Conceived by agency David & Goliath, The Truth promotes the luxury of the automaker's new 900 model. In it, actor Laurence Fishburne reprises his role as Morpheus to introduce an unsuspecting couple to the wonders of the Kia 900. Digital Domain worked with directors Carl Erik Rinsch and Colin Jeffery on the spot, which features streetlights and cars that explode from the sound of Fishburne's operatic vocals. The studio also handled invisible VFX for the commercial. Artists created Morpheus' all-CG glasses, and added CG windows and glass to the live-action Kia K900 for interior shots, which were actually captured against a bluescreen. The studio also added reflection passes to the exterior, touched up buildings and added a number of subtle surprise visuals. MJZ produced the commercial and Union Editorial's Jono Griffith cut the piece. Hum provided music and sound design. The spot was mixed at Margarita Mix. Moonshine kingdoM H UNTSBURG, OH — Moonshine Kingdom (http://moonshinekingdom.com) is a new 4K feature that's available for streaming via NanoTech Entertainment's Nuvola NP-1 media player. The feature was written and directed by Milton Horow- itz of Household Entertainment, and was shot and edited by Ryan Forte of Forte Nox Productions. The film is based on true events and tells the story of an Amish man, who willingly leaves his conserva- tive Ohio community. After serving his country as a war medic, he later returns to the town, where he is no longer welcome. The film was shot on a remote farm in Hunts- burg, OH. The team used Red One and Scarlet cam- eras to shoot the project and posted it using a combination of Adobe Creative Cloud applications and a workstation equipped with an Nvidia Quadro GPU. Rather than transcode files to 2K or HD, Forte worked at 4K resolution, thanks to the power of the GPU. Seki UHD displays and lots of RAM allowed for a realtime editorial workflow without the need for a Red Rocket card. NanoTech Entertainment recognized the oppor- tunity to expand their 4K library and bought the rights to the film after meeting the filmmakers at the 2013 American Film Market Convention. It marks the first feature-length film to appear on the company's UltraFlix Ultra HD channel.