Firehouse at work on series of ten political spots for a Political Action Committee. Local actors Dean Steeves and Leslie Abrams solving world problems over morning coffee.
Sulphur Springs Valley Electric Cooperative announces the completion of a 20-megawatt solar voltaic power plant.
Firehouse is producing a series of spots about the clean renewable power now being delivered to SSVEC's customers in southeast Arizona.
Firehouse is contracted to produce a series of programs for an important art and educational exhibit entitled, "Broken Dreams," that examines Mexican Repatriation in the 1930's.
An estimated one million people, including many children and more than half of them U. S. citizens, were forced to "repatriate" during this time without due process.
Gone are the days (well almost gone), where students sit silently in a large lecture hall and take notes while trying to keep up with a lecture.
FH is producing a program for WebsEdge, "The Global Leader in Conference TV," on new and more effective ways of teaching science, technology, engineering and math courses.
We're proud to be working with HavasPR North America and the UNF Foundation for Climate Change Initiatives.
We're shooting with The National Science Foundation and "Science Now," exploring optics research with lasers and holograms.
You may dread seeing the "spinning beach ball," but we're talking about holographic projections transmitted via internet.
We're producing a program for Captiva Verde Farming, with principal photography under way at their 600 acre organic site in Western Arizona.
Captiva Verde is soon to be the U.S. largest producer of organic baby spinach, kale, lettuce, arugula, and other greens according to USDA regulations and best practices in the organic industry.
FHP is producing a series of programs for Cord Blood Registry.
Cord Blood Registry's Tucson location is the largest cord blood bank in the world, where samples from over 500,000 children are cryogenically stored. Umbilical cord blood contains stem cells that have been used to regenerate healthy blood and immune systems.
Firehouse is looking for a few good editors.
If you've got a good feel for a story, enjoy working with people as much as you do machines, and have a broad technical knowledge, we'd like you to contact us.
That would be email@example.com.
We enjoyed providing crew services for senior care provider Caremore and their Los Angeles advertising agency Copper Canyon Media on a shoot here in Tucson.
We spent a few day learning the finer points of wealth management with Focus Financial Partners. Firehouse providing crew services for New York's QuidPro Video.
Now you can prepay your electric bill with Sulphur Springs Valley Electric Co-Op's Prepaid Metering program.
SSVEC meets the energy needs of southern Arizona. We're producing a series of spots highlighting some innovative new programs they're offering their members.
We just finished spending a few weeks with Conductor George Hanson and The Tucson Symphony Orchestra.
Under Hanson, TSO has established a reputation of the flagship performing arts organization in Tucson's rich cultural environment. Commitments to education, audience development, community outreach and civic involvement have been hallmarks of his tenure.
See the program on the WORK page...
We're working with Captain Mark Kelly and the World View team to describe what you'll be seeing floating along at 100,000 feet attached to a balloon with a diameter of the University of Arizona football stadium.
Our short piece on the plane that was the first Air Force One has been seeing a lot of YouTube traffic, 1.2 million views and counting...http://youtu.be/ehwvZXVKmPU.
We're at work on a piece about The Tucson Symphony Orchestra and the innovative Young Composers Project.
The program serves as a national model that teaches elementary through high school students to compose for orchestra. This unique and nationally recognized program uses the Orchestra as a living laboratory for the young composers, providing interaction between students and professionals to explore the creative process of composition.
Occasionally, an animated character appears that changes fundamentally the way we view cartoons, the way they're designed, the way they move around the screen. Such characters — Mickey Mouse, Sheriff Woody, Wile E. Coyote, Bugs Bunny — force response, both from the animated character community and the audience. To me, these characters are justifiably called classics, and I have no doubt that Sulphur Springs Valley Electric Co-op's Max the Meter will someday fit as naturally within that list as Mr. Clean or The Michelin Man.
One ought to be wary of making such claims, but in this case, they're justified at every level. In the area of production, Max the Meter is nothing less than a breakthrough. Max -- with producer Greg Booth, graphic designer Dale Ide and editor Christian Bruncsak, who helped Ide with compositing — is the first character to fuse the spacious clarity of southern Arizona and the raw density of the graphic novel. That's the major reason why the result is so different from 2009's "Meter Miser Measure." On that spot, for instance, individual movements were deliberately obscured to create the sense of one huge spinning electrical meter. Here, the same power is achieved more naturally.
Four years ago, in a Willcox bar, my friend Ned Culver and I watched Max the Meter give a performance that changed some lives — my own included. About a similar night, Culver later wrote what was to become animation criticism's most famous sentence: "I saw animation's future and its name is Max the Meter." With its usual cynicism, the world chose to think of this as a fanciful way of calling Max the Next Big Thing.
I've never taken it that way. To me, these words, shamefully mistreated as they've been, have kept a different shape. What they've always said was that someday Max the Meter would shake men's souls and make them question the direction of their lives. That would, in short, do all the marvelous things inantimate objects brought to life had always promised to do.
It poses once more the question that epiphanic moments always raise: Do you believe in magic?
And once again, the answer is yes. Absolutely.
With apologies to Dave Marsh.
Rummaging through our library the other day we came across a box with the name Larry Buchanan written in black magic marker. Inside were an assortment of 1", 3/4" and VHS tapes, and the occasional loose 1/4" audio tape reel. This brings to mind the seemingly sudden disappearance of tape in our industry, but that's a subject for another day.
The first time we met Larry Buchanan he told us he once shot a feature film in a space the size of a small insert studio -- 20' by 20'. He wore a panama hat and carried a cane made from some type of exotic polished wood. He was often accompanied by his wife, whom he referred to as "Lady Jane."
Larry told us he was in the process of securing the rights to all of his movies, and wanted to make a series of DVDs that included the original films and commentary by the cast members -- at least the ones he could find who were still alive.
If you're not a student of 60's era drive-in movies (you're not?), you've probably never heard of Larry Buchanan. But if you're of a certain age and can remember seeing films like "Free, White and 21," or "Underage," you know Larry Buchanan was one of the first progenitors of the sexploitation/blaxploitation genre.
He was known mostly for "Mars Needs Women." He often talked about making a sequel, one we insisted he title, "Venus Needs Velcro." That was never to be, but for a period of about three years we re-cut and re-packaged the odd sequence or soundtrack in preparation for, well, we were never quite sure what.
Later on, he would arrive via an older model silver Mercedes sedan, his driver sitting in our lobby patiently waiting while thumbing through trade magazines.
The last time we spoke with him, he had been struck with valley fever and was calling from his hospital bed asking if we could send a dub of his film, "Goodnight Sweet Marilyn" over so he could give it to one of the nurses. He then wanted to put us on the phone to vouch to the nurse that he had really been the director.
He died shortly after that. He was 81. His obit in The New York Times said, "His work called to mind a famous line from H.L. Mencken, who, describing President Warren G. Harding's prose, said, ''It is so bad that a sort of grandeur creeps into it.''
We've been at work shooting a profile Alyssa Hasslen, women's shot put champion and finalist for the NCAA Woman of the Year Award. Working with the NCAA and BI Worldwide ...
The Firehouse production of "Do Zombies Carpool?" received an award for excellence in marketing and outreach from the Association for Commuter Transportation.
Client Pima Association of Governments uses the piece to promote alternative modes of commuting, such as bus, bicycle and carpooling, to employers in Pima County.