Untitled Document
NEWS
Upstairs/Uptempo and DKP Miami worked together in “Deadline” the official ADDYs Awards commercial.
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 Addys "Deadline"
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Addy Awards Official Commercial "Deadline"
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The ADDY Awards is the world's largest competition of the advertising industry in the United States, with over 60,000 entries each year.
Upstairs / Uptempo were happy to be involve in the visual effects and audio post production for the commercial “Deadline” created by the advertising agency DKP Miami, and produced by America Filmworks. The funny and unreserved commercial was design to promote and revitalize the participation of students and agencies in the Miami ADDY Awards.
Read moreThis viral commercial directed by Marcelo Paez and visually enhanced by Upstairs with the lighting, animation and color correction effects, accentuated the slogan “if your concept is still alive”. The audio post by Uptempo, makes the commercial come to live with all the vivid sound. All comes together to convey the whole idea of the ADDY’s to present all of the ideas that survived their toughest challenges on their way to realization.
The deadline for registration is Thursday January 19, 2012.
Credits:
Client: ADDY Awards Advertising Agency: DKP Miami Director: Marcelo Paez Post Production Company : Upstairs Color Correction: Upstairs - Rudel Reyes Visual Effects: Upstairs - Codie Yarbrough - Rudel Reyes Original Music & Audio Post: Uptempo
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Upstairs works on series of ads for Miami Short Film Festival
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 Miami Film Festival
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Miami Film Festival
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Post-production facility Upstairs worked on various spots for the Miami Short Film Festival to advertise the event. The spots humorously outline the differences between feature films and short films, while showcasing the advantages to short films in that they require many fewer details to effectively tell a compelling story. Upstairs color corrected the spots and concealed all intimate areas so that the ads could be aired on television.
Read more Pablo Buffagni of Conill Advertising was in charge of the creative for the advertisements, which were produced by D'Avant-Garde Media. The music tracks were motivated to underscore the very jocular nature of the spots. Uptempo’s own Aaron Fishbein performed with singer Gil Bitton on the track for one spot “Beside Table,” which was inspired by 1980s music. Also, Uptempo was in charge of the sound design for the series of ads that commemorated the10th anniversary of the MSFF. This blend of talent accentuated the comedic timing of both ads.
Credits: Client: Miami Short Film Festival Title: Beside Table Advertising Agency: Conill Chief Creative Officer: Pablo Buffagni Director: Pablo Buffagni & Francisco Pugliese Post-Production Company: Upstairs Online: Upstairs Color Correction – Rudel Reyes - Upstairs Animation: Upstairs Music Design & Audio Post: Uptempo.
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Upstairs works on Casanova Pendrill latest campaign for Nescafe Clasico.
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 Javier
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Nescafe Clasico
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Pablo Piriz - Upstairs Editor - finalized three television commercials and a chain of 24 different online spots for Nestle coffee brand Nescafé Clasico. The three television commercials ask for audiences to search for Nescafé online to view the various dance lessons taught by Spanish choreographer Javier “Poty” Castillo of Univision’s MQB (¡Mira Quién Baila!). The project, produced by Red Creek, left Upstairs in charge of editing, motion graphics, animation, color correction, and audio post-production for the multitude of spots. Read more
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First documentary produced by Univision has original music and audio post by Uptempo
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 Documentales Univision
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Infiltrados-Intro
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"Infiltrados" narrated by the renowned journalist Jorge Ramos is a 75 minutes documentary with an extensive music and audio post work by the Uptempo team. The documentary is the first one produced by Univision and provides an in-depth look at the intelligence behind the recent lethal strikes against the oldest terrorist organization still functioning in the world, the FARC in Colombia. Read more
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The X Factor Host’s Dermot O’Leary records at Uptempo
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 Dermot O'leary The X Factor U.K host
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The X Factor is one of the top rated shows in the world and now is coming to the US. Dermot O'leary, host of the United Kingdom and original version was at Uptempo recording the narrations of the most recent show aired on September 11th.
Read more Mr. O'leary is also known for his BBC radio show and for being the host of many other important shows at the BBC. Close
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Nature Valley relies on Upstairs to maintain company image in new Ad
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 Nature Valley
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Nature Valley
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“See It For Yourself” is an ad for Nature Valley that follows their usual storytelling. The spot, edited by Upstairs' Pablo Piriz, preserves the company’s image of greenery, lush landscaping, and promoting healthy lives through outdoor activities.
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Upstairs works with Conill new My Tide campaign for Hispanic market
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 Tide
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My Tide Campaign
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Tide launched its “My Tide” campaign for Hispanic market in the United States, covering the scope of television, print, and online. Miami-based post-production company Upstairs was in charge of post producing entire campaign which included: editing, online, color correction, sound design and audio post.
Read more “My Tide” calls upon the audience to decide which brand of Tide they, respectively, use or connect with the most. The series of spots essentially ask anyone “What is your Tide?” by echoing sentiments that the brand of Tide they use is their own through humorous vignettes from various points of view. “The creative challenge,” said Upstairs Editor Omar Tinoco, “was to choose footage at the right time where the actors were spontaneous and natural as to how their characters felt about Tide.” The result was nothing short of an unequaled achievement. Through fine-tuned editing, the ads practically felt improvised. More so, the great quantity of material allowed for various versions of the same commercial, further adding to the impulsive ambiance. The campaign even made use of staged bloopers in which the actors talked about their personal Tide brand between takes as the camera was still rolling. Creating a series of ads that feel completely natural and genuine is no small feat. But with a deliberate editing process, even seemingly daring challenges can be successfully accomplished.Close
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Gatorade reimagines Miami Orange Bowl game through stunning visual effects
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 Gatorade - Visual Effects
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Gatorade
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Gatorade’s latest commercial continues their traditional storytelling of the company’s history by conceptualizing a football game at the Miami Orange Bowl, a stadium that was demolished in 2008. The reimagining of the Miami Orange Bowl was actualized by Upstairs, an acclaimed Miami-based post-production facility, to recreate the last seconds of a game where the Florida Gators won on account of Gatorade.
Read more Creating a scene, taking up about one-third of the entire ad, in a stadium that no longer exists proved to be quite the challenge for Upstairs’ visual effects team Rudel Reyes and Wally Rodriguez. Upstairs’ animators had to build 3D models of the now-defunct Miami Orange Bowl to track the material of players shot in an open field. Even more challenging was creating the stadium through a point-of-view shot. “The main obstacle we faced when doing the effects for this commercial was the fact that the shots were point-of-view shots from the perspective of the running back looking through his helmet at the action,” said Upstairs Director of Visual Effects Wally Rodriguez. To create this angle, Upstairs mounted a camera on an actual helmet to get a real feel of the motion, but it also proved to be a bit demanding. “The process of tracking the action was complicated because we only had a few moments in the sequence where the tracking could be performed automatically. Our animators had to manually track and connect the three cameras generated by the 3D tracking software so that they would flow as one shot.” Getting the audience back to the time period of the Florida Gators game in the Miami Orange Bowl took a tad more than adding a stadium, and dozens of people, digitally in the opening scene. It also required for the video to be color corrected by Rudel Reyes to appear as if it was old footage. The beginning of the commercial “was supposed to look like it belonged in the specific time period of the game, so we had to deteriorate the material to fit that look,” added Wally Rodriguez. “The rest of the commercial goes through the years demonstrating athletes who use Gatorade as their sports drink,” said Editor Juan Fontana. “The director’s main intention was to allow enough time to showcase the creators of Gatorade and the contemporary athletes who use it.” This meant that the director and editor had to change phrases in voice-over to accommodate for time. Challenging projects like this one prove yet again that with a creative and talented team, the past can live on through imaginative vision and compelling visual effects. Credits: Client: Gatorade Title: Heritage Advertising Agency: BBDO Mexico Director: Amin Azali Production Company: Lemon Films Post-Production Company: Upstairs Editor: Juan Fontana – Upstairs Visual Effects - Upstairs
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Ricky Martin premieres his new music video, “Más,” edited and color corrected by Upstairs
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 Ricky Martin
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Music video-
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Ricky Martin’s new music video, “Más,” premiered only a few weeks after the single made its debut. Upstairs, a Miami-based acclaimed post-production company, was in charge of editing and color correcting the video, collaborating with both the director and the production studio to create the final product. The video was edited by Pablo Piriz and color corrected by Rudel Reyes, both of Upstairs.
The music video, filmed live in Puerto Rico, follows Ricky Martin during the first concert to kick off his world tour, titled Música + Alma + Sexo. The video portrays Martin’s energy onstage in the stadium while also showing how that energy reaches into the depth of the audience. Upstairs captured that essence thoroughly.
Read more Director Simon Brand, renowned for working with such artists as Shakira and Enrique Iglesias, agreed that the editing and color correction was of high quality like the rest of the project. “The video and the color correction that we did with Upstairs was sensational! It’s tasteful and perfectly in line with what I was looking for,” he said. Mauricio Osorio, of Los Angeles-based full-service production company Aluna Films, labeled the work done by Upstairs as “incredible” and “seamless.” Upstairs was honored to work with great talent such as Grammy Award winning Ricky Martin and Director Simon Brand. “For an editor, it’s key to collaborate with directors of such high caliber like Simon. Working with him, I can concentrate on doing the best I can to tell the story knowing I have the necessary elements to do so,” said “Más” editor Pablo Piriz. More information about Upstairs Upstairs is an award winning full-service post-production company located in Miami, Florida specializing in art direction, editing, color correction, visual effects, animation and motion graphics for TV commercials, motion pictures, broadcast networks and corporations. Credits: Artist Name: Ricky Martin Artist Label: Sony Music US Latin Song Title: MAS Director: Simon Brand Production Company: Aluna Films Post-Production Company: Upstairs Post Miami Executive Producer: Anabella Sosa Editorial: Upstairs - Pablo Piriz Color Correction: Upstairs - Rudel Reyes Director of Photography: PJ Lopez Close
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MAGIC CITY MEMOIRS The Blessing and the Curse of a True Miami Story
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 Magic City Memoirs
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Magic City Memoirs - Trailer
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Magic City Memoirs is the debut production of Enlight Films. Director Aaron Salgado, a graduate of NYU Film School, and Producer Jaydee Freixas, a graduate of UM Film School, bring us a coming-of-age drama based on the true stories of their adolescence.
Read more Executive Producer, movie veteran Andy Garcia, and the post-production teams of Upstairs and Uptempo bring to life this unique film, of a city where the tropical weather, glamorous living and beautiful people feed into a distinct attitude described in the movie as “the blessing and the curse” of living in Miami. The movie couldn’t find a better “opening night” than during the Miami Film Festival held in Miami March 4th through March 13th. “It's a story that I've always wanted to tell…” explains Salgado, “…it's about growing up and Miami and facing the temptations that the city has to offer. It's an ode to our generation”. Three lifelong friends, months from their high school graduation, indulge in reckless behaviors that find them on the brink of their mortality. Mikey, Angel and Stok are submerged in the Miami life of privileged and loose parental oversight, sex, drugs, and hip-hop. “Executive Producers, Juan Villarreal and Andy Garcia loved the story and gave us the opportunity to make it”, explains Salgado, “…but the true wonder of the movie came to life in the post production phase…The magic happened in the editing room…and in doing the job, Upstairs and Uptempo were unmatched partners”. Upstairs gifted color correction, executed by Ntana Key, portrayed Salgado's aerial shots of Biscayne Bay, the Miami skyline and Coral Gables’ sunsets, and brought out the area's lush and romantic colors. Salgado and the post-production team of Upstairs captured the texture and energy of this pulse-pounding tropical paradise as only a true insiders could; Miami has never looked so radiant and effervescent on film. “Ntana Key, our colorist, did a great job. He really brought the look of the film full circle…The blue tone of the movie helped with the development of the characters and set the tone of the film” ads Salgado. According to Key, “…by subduing some of the colors in the scenes they were able to draw more attention to the characters and their story…The most difficult part was making sure that our palette stayed consistent throughout the film”. Sound design was also a crucial part of creating the emotional tone of the film. Uptempo worked hard on perfecting every aspect of the sound: from design, soundtrack, mix, and Automated Dialogue Replacement recorder. “Once Uptempo put the finishing touches on the film, we knew we had something special” ads Salgado. Magic City Memoirs is an intense and profound depiction of Miami’s “gods and demons”; where colors, sounds, and characters bring to life what Joan Didion described as “….not a city at all but a tale, a romance of the tropics, a kind of waking dream in which any possibility could and would be accommodated. (Joan Didion; http://www.epodunk.com/cgi-bin/genInfo.php?locIndex=8723) Credits: Director: Aaron Salgado Producer: Jaydee Freixas Executive Producer: Andy Garcia, Juan Villareal Director of Photography: Gus Penna Color Correction: Upstairs Music and Audio Post: Uptempo Close
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Creativity and Innovation: Upstairs Bets for 2011
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 Omar Tinoco, Juan Fontana y Pablo Piriz
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Upstairs starts 2011 reloaded with new energy and creative ideas. As a part of its ongoing effort to maintain a cutting-edge team, Upstairs just closed deals with four avant-garde editors; four professionals with vast experience both in general and Hispanic markets. Here you can have a sneak peek at our new editors roster and what inspires them.
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Uptempo...The Voice And Sounds Behind Jackson Memorial Hospital “I am Jackson”
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 Jeffrey Donovan from Burn Notice at Uptempo
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Jackson Memorial Hospital
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UPTEMPO partnered with a local production company to promote the Jackson Healthcare/Hospital System new commercial “I am Jackson” and bolster its image as a powerful community resource.
Read more This promotion was a complete branding campaign in the way music and voices were used as key components in delivering the Jackson Healthcare System message. Uplifting and inspirational original music from Uptempo’s team helped depict Jackson as a strong and powerful community resource. Voice recordings were done at Uptempo by renowned actors Jeffrey Donovan (“Burn Notice”) – for the General Market - and Christian Meier (“Alguien te Mira”) – for the Hispanic Market who gave their talent for this pro bono spot. Thanks to this spot, Jackson received excellent reviews and with the success of the promotional message, Jackson Healthcare System extended the campaign to cinemas and the Internet media. Credits: Client: Jackson Memorial Hospital Commercial Title: I am Jackson Advertising Agency: Newell & Dec Creative Director: Justin Dec Agency Producers: Tony Newell - Justin Dec Color Correction: Upstairs Audio Post-Production House: UptempoMusic: UptempoMusicians: Jose Miguel Miranda y Jose Miguel TobarProducer (Music): Roger DominguezAudio Engineer: Ricardo Tinoco / Felipe Valencia Voice Over Talent English: Jeffrey Donovan Voice Over Talent Spanish: Christian Meier Close
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International celebrities choose Uptempo as preferred audio post-production house
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 Adrien Brody for Manolete at Uptempo
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Uptempo, has recently positioned itself as the preferred audio post production company in the US and European markets. Proof of its ever growing success is demonstrated in the series of audio post, dubbing, and original music projects completed for renowned artists and agencies in these markets.
Read more Recently, Uptempo was chosen as the post production house for the recording of the international campaign for Virgin Atlantic, with the London actor Stephen Fry. In the same fashion, sport celebrity Shaquille O’Neal recorded a spot for Vitamin Water and Juan Pablo Montoya recorded one for its sponsors. Additionally, Vodaphone the multinational telecommunications company, utilized, actor Idris Elba’s ("Rocknrolla", "Obsessed", “The Wire”) choice of Uptempo to record the voice for the campaign; Elba also chose Uptempo to complete the dobbing for the movie “Takers” and for the new series of Showtime “The Big C”. Uptempo initiated its international work in 2007 when actor Adrien Brody, winner of the Oscar for his role in “The Pianist” chose Uptempo to complete the dubbing of the movie “Manolete,” co-starring Penelope Cruz. Uptempo utilized ISDN lines to allow Adrien to record from its Miami based studios while receiving direction from Spain by renowned director Menno Meyjes. Uptempo’s recent partnership with studio TGA Voice, is a further recognition of its market growth and consolidation. In collaboration with TGA Voice, Uptempo currently developed the only entity in the US Hispanic market that offers the voice over services of over 30 of the most famous Latin American celebrities for TV and Film. In the words of Seth Goldberg, owner of TGA Voice “Uptempo offers access to world class installations and the talent of their engineers and producers is unparalleled”. “When you do your work right, everything else falls in place…clients are your best source of referral”, affirms Roger Dominguez, Executive producer for Uptempo. Anabella Sosa, CEO and co-founder of Uptempo states the gratifying nature of working with international teams of this high caliber. “It is a testament to the quality of the work we do. We offer audio and original music services, without allowing distance and frontiers interfere with the creative process and the quality of the final product”. Close
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Upstairs Miami and La Fábrica Films México create a multimedia presentation for the Gallery of the National Palace, as part of the Mexican Bicentennial festivities.
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A strategic axis of creativity, production, design, animation, and special effects between Mexico City and Miami has taken shape, to produce a very special work for the great Mexican Bicentennial celebration. One component of the festivities is the inauguration of the Gallery of The National Palace in Mexico City’s historic downtown district, offering a multimedia introduction created by the Mexican producer La Fábrica Films and Upstairs, a Miami post-production facility.
The chosen team spent two years working on the planning and went through a six-month countdown to produce “Mexico 200 Years, the Motherland under Construction,” an ambitious multimedia presentation lasting four and a half minutes, which opens the exhibition at the National Palace. Read more
“The concept is that the country is always under construction, and we Mexicans go on working to that end,” said Executive Producer Alfredo Couturier of La Fábrica Films in Mexico City. “It’s the first thing the public will see when going to the exhibition,” according to Joe Solís, who directed the production of the presentation. “What we want is for the spectator to identify with Mexico’s history, a history that is shared, whether we like it or not, with what the country is today and what we continue writing with every passing day. That’s why our images are so evocative and playful, aiming to stir an emotion and empathy among the public. And to prepare the public for what will be encountered next: an impressive art show”.
“They converted three impressive halls of the National Palace, into what they have called the “Gallery of The National Palace”. “It began as a temporary way to celebrate the Bicentennial, and now it will have a permanent presence in the National Palace, and it houses to have one of the largest collections of artifacts and art objects,” asserts Wally Rodríguez, the founder and Director of Special Effects for Upstairs, from his office in Miami.
Since it was a national landmark, the structure of the theater inside the Palace could not be altered, so they built a 100-seat theater-within-a-theater, in which we are surrounded by 360 degrees of images including the ceiling. “To cover this huge area we used 14 projectors,” recalls Solís. It is a cinematic and animated work that was a major challenge to produce”.
Upstairs started work on the project three months before getting official approval, because if they waited they would not have made the deadline for the live event. “We had to make a substantial investment on our part, and we took our chances,” says Wally. “We believed in the project, and we have a very important tie with Mexico. We have many Mexican clients, I was born in Mexico, and we also have a close relationship with La Fábrica, which is one of our biggest clients.”
For Anabella Sosa, a co-founder of Upstairs and its Director of Creative Services, this is one of the most important and most complex projects the firm has handled. “This contract represents a great deal for us, because a large number of companies competed for it and we won it.”
Upstairs has a team of 12 people assigned to the project, including designers, artists, animators, and producers. “They created a system to simulate and preview everything, and to make certain that the scale of what they were producing would work out when it was scaled up to those dimensions. This way the project could be visualized without the need to build a scale model, which is what is generally done in these cases, The pre-visualization allowed the artists to make sure everything would fit in place with what was being projected,” explains Sosa. “We have proprietary tools that we used to create a three-dimensional space that we could view in context, while the show was playing in real time,” clarifies Rodríguez.
“The spectacular thing about this,” remarks Anabella, “is that Upstairs, Wally, and Joe Solís succeeded in producing an interactive and plastic model that represented the project before it was filmed. The project was done twice. For the artists, that’s extremely complex.”
For Germán Verdi, Director of the Design and Moving Graphics Department at Upstairs, the great challenge was in principle to understand the project in its entirety, “because the format was so enormous that the logical stages of production for an audiovisual presentation were overwhelmed in every way; that turned the project into a true professional challenge that very few designers in the industry have had the privilege of confronting.” Communication was the key element, affirms Verdi, who considers it a true success in the experimental field because “the unique characteristics of this presentation made the sequential procedure of design, filming, and post-production that we in this industry are accustomed to impossible.”
In addition, adds Sosa, this project’s complexity lies in the fact that it had a deadline, it was a live event, “and everything had to turn out perfectly on that day.”
They had to integrate what was filmed in Mexico with the pre-designed components, such as the 3-D animated eagle built at Upstairs, that opens the show flapping its wings. “For example, there’s a shot where you’re looking at the sky, and then suddenly the entire video turns over and you end up under water. In addition to having projection, the theater has robotic lights and, when the box rotates, rays of light follow so that you feel you’re in that space and the sun’s rays are coming through the water.” All those components had to be previewed to see how the viewer would experience them. Madrix software and the Medialon equipment, which synchronizes sound, projection, and lights at concerts, were the ones chosen for the live installation, which uses several projectors for each screen. The soundtrack and sound effects were recorded live in Mexico with human voices, to give the performance an organic and striking emphasis.
“It was a very plastic process, a completely malleable one; every time there was a change, there was a chain reaction that affected everything. It’s been one of the most complex and interesting projects we’ve done,” asserts Rodríguez. And Solís reiterates: “Wally and I have worked together on a lot of projects, but this one has without question been a huge technical and creative challenge for both of us.”
Credits:
Client: Palacio Nacional Mexican Government Post-Production Company: Upstairs Director of Special Effects: Wally Rodriguez Director of Creative Services: Anabella Sosa Art Direction: Upstairs Animation: Upstairs Executive Productor: Florencia Zoccola Special Effects Artist: Rudel Reyes Production House: La Fabrica Films Director: Joe Solis
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we are a passionate team
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visual and sound artists
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