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Santa Monica, CA. Solidla has completed a national spot Honda "Fury" for Dailey & Associates. The spot is truly amazing. From complete conception to the final product Solidla has once again shown how talented, creative and imaginative they really are. Thom Blackburn-Creative Director and Jennifer Holstein-Executive Producer/Design and Animation along with their team from Solidla have rose to the occasion to design one of the most creative, edgy and design driven spots. Along with the Solid team was Senior lead Flame artist Terry Silberman, who completely redesigned and composited the "hero" shot. Silberman adds: "The shot had it's challenges. Dealing with frames shot for HD which needed to be conformed for 4x3 safe involved alot of tedious work. Completely rebuilding out the floor, walls and ceiling, along with adding all the additional lights, shadows and smoke is what really brought the bike to life". Silberman also adds: "The lighting on the bike was crucial. To emulate all the lighting attributes along with the reflections, it had to be right. Ontop of it all the shot had a huge in camera move." We look forward to see what Solidla is going to bring to the table next!


Santa Monica, CA, Crush and Voodoo have completed work on two new K-Swiss TV spots which were directed by Ken Arlidge of Aero Film, on behalf of The Gale Group, based in NY, and their client, K-Swiss, based in Westlake, CA. Editor Curtis Schmidt of Crush and Voodoo‘s Lead Flame Artist Terry Silberman worked jointly on the two new K-Swiss Spots. The dynamic spots feature the cutting edge sport of “Parkour,” in which athletes use their surrounding structural and natural urban environment to propel and move them through the urban landscape. Acclaimed musician/composer Rocco DeLuca contributed two tracks to the spots, “Gravitate” and “How Fast.”,Commenting on Voodoo‘s role in the process, Arlidge said, “‘Race to Center Court‘ required that a number of shots have crowd duplication. We filmed with Anna Kournikova at the Home Depot tennis stadium. We had a total of 100 extras that were duplicated by Terry Silberman to fill the 8000 seats. Arlidge said, “‘Race to Center Court‘ required that Terry Silberman applied digital still and film sky plates to each frame replacing the less than perfect skies location shooting tends to bring. Other post work included Terry Silberman's compositing an office interior behind the actor flipping out of a window, sky enhancement/ replacement, palm tree additions, and compositing Anna back over the stadium crowds.”


Markee: Santa Monica, CA, Voodoo, a leading effects company specializing in the creation, production and compositing of original visual FX for national and regional TV commercials, music videos, TV programs and feature films, recently completed FX featured within a new Baby Ruth candy bar TV spot. On behalf of client Dailey and Associates and Creative Director Rich Bronshvag, Terry Silberman added 40,000 people to fill Dodger Stadium! These “Added People” were each holding a Baby Ruth candy bar - the bar‘s new blue and silver packaging being prominently featured. Said Rich Bronshvag, “Certainly there are a number of post-houses out there that do this kind of work, but we went with Voodoo for the level of detail they were willing to commit themselves to. Terry Silberman, Voodoo‘s Visual Effects Artist and Compositor, who also served as Visual Effects Supervisor on this project, explained the process behind the Baby Ruth FX: “We began work on this project after reviewing the boards with a template for which I had to create a letter of technique so we could create the crowd replication process. So I compiled a technique that would explain the procedure and help the director on how to accurately shoot this spot, but also ensured the client that Voodoo would physically be there during the live action shoot to support the visual effects.


Shoot Magazine: Nasar Abich acclaimed director, received some visually striking boards from Ackerman/McQueen.To promote the newly expanded Winstar World Casino, the agency created storyboards that feature four principal talent visiting the five world cities featured in the casino. While at first, it seems these four are gambling jet-setters, in actuality, they have never left the casino floor.Abich's first reaction was that we would be traveling the world, photographing at every one of these exciting cities... wishful thinking on his part. Once all these plates were acquired and comped, the remainder of the work involved the direct manipulation of the background plates...adding the "search light" on the Eiffel Tower, the animating of the cafe awnings and neon sinage, and so forth. A subtle grain structure was added to further smoothen the integration of all the various elements. Then came the final step, the endless tweaking of all the myriad of elements...finding just the right amount of blur for the pedestrian timelapse, the exact scaling for the kiosk, etc. And with the indispensable talent of an amazing Flame compositor, Terry Silberman, at Crush/Voodoo in Santa all came to life.


Shoot Magazine: The Best Work You Many Never See:'s"Garage" Crush/Voodoo in Santa Monica completes a spot for Senior lead Flame artist Terry Silberman designs, animates and creates several 500 layer composite containing "arrows" that navigate over vehicles like a swarm of bee's. Silberman adds: "All the little subtleties are what brought these arrows to life. I actually watched several video on the flying patterns of bee's and with the right lighting and dimension the arrows felt as though they were coming to life surrounding the vehicle."


Millimeter:  VP, Creative Director, BBDO, Los Angeles, CA, Tito Melega put Terry Silberman, Senior Flame artist at Solidla to the test. The two spots for Mitsubishi are not your typical commercials. Both spots consisted of creating a mirror effect throughout the commercial. Tito Melega adds: "Working with Terry was a great experience, his knowledge and artistic attributes made it a pleasure. With an extreme amount of rig removal, tracking, road cleanup and adding all the light effects on the cars with sun flares is what really made the spots exciting" Silberman adds: "Beyond all the little subtleties that were added, there was also the challenge of literally adding entirely new backgrounds behind the vehicles. All the shots required sky replacement along with mountain scapes and all the atmosphere that is needed to make it look real. I learned alot from Tito, his creative thinking is second to none and hope to work with him again soon."

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