We are pleased to announce a special screening of Jason Marlow’s short film The Big Bends Tues, Dec 15th at the Omni at 8:45 p.m. & 9:30 p.m. We had the opportunity to work closely on the color with the Writer/Director and DP on this amazing project.

We just finished music for this online and television campaign Alpheus Media produced and directed for the Lance Armstrong Foundation (LIVESTRONG). The client wanted the music to be fierce, powerful, hopeful and driving. Stay tuned for more to come…

To learn more, visit livestrong.org

We just finished color correcting and mixing The Butler Brothers’ American Legacy EX brand film.

Legacy’s EX program helps people re-learn life without cigarettes. It’s a novel and proven approach to helping people quit and live to tell.

This film exists to tell the story of EX and connect Legacy with partners that can enlarge this mission. Smoking costs our country 200 billion dollars a year in lost productivity and in health care. This is truly a public health burden that is restraining our vitality as a nation. We hope our work will inspire captains of industry to recognize their opportunity in being a part of the solution by docking with EX in a meaningful way.

Lyman and Parke took their second workshop over at Handmade Music, Austin.

This is how Lyman blows off steam in between projects. More to come…

There’s a new tequila in town.

• Shot on the Red camera with limited time and budget…
• Director: Dan Brown, Motion Graphics: Jason Marlow, Design: Craig Denham, DP: Shane Kelly
• Services: Color Correction, Online Conform, Sound Design, Audio Mix

We were lucky enough to color correct and mix the latest collaboration between The Butler Brothers Advertising and Director Jeff Nichols. It is a short documentary about the legends and architects of American music. We recommended checking out Ponderosa Stomp Foundation or The Ponderosa Stomp Music Festival in New Orleans.

Take the pledge. One Computer at a time. Shiny Object made a killer video. Stuck On On composed the music. Marty Lester mixed it.

Mission: Possible
By 2010, we seek to reduce global CO2 emissions from the operation of computers by 54 million tons per year1, equivalent to the annual output of 11 million cars or 10–20 coal-fired power plants. With your help, this effort will lead to a 50% reduction in power consumption by computers by 2010, and committed participants could collectively save $5.5 billion in energy costs.

Stephen Fishman of Mac&Cheez fame released the full version of Nanosporin online. Lyman composed the soundtrack. We love this piece. Pass it on.

In honor of Omar from The Wire—”Oh, Indeed.”

Lyman wrapped up some music for a Shiny Object TV Spot for Alabama Credit Union. Featuring Allison’s Casio she got for Christmas in 1984 and Foot Patrol’s trombonist Nick Smith.

RED Post-Production and Finishing for Independent Films and Commercials with Parke Gregg and DP Shane Kelly. The deadline for voting is Sept. 4th.

The RED camera brings huge creative possibilities to small and medium budgets as well as huge technical issues that normally are solved by spending lots of money. This presentation will focus on the Post-production side of the RED. From on-set data management to color correction and mastering.

1. What is the Red camera?
2. How is the Red workflow different?
3. What is a tapeless workflow?
4. What problems does the Red camera introduce to post-production?
5. Why is data management important?
6. How do I edit footage from a Red camera?
7. How do I color correct footage from a Red camera?
8. How do I convince my producer/client to use the Red camera?
9. From a creative/technical standpoint is Red better than film?
10. How is Red different than HD?