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    Lucky Post promotes Neil Anderson to colorist

    By SHOOTUpdated:No Comments906 Views
    DALLAS --

    Neil Anderson has been promoted from assistant editor to colorist at Lucky Post. His work spans projects for national brands such as Canada Dry, Costa, TGI Friday’s, The Salvation Army and YETI. His latest feature work premiered at the 2018 Sundance Film Festival: Augustine Frizzell’s comedy Never Goin’ Back, a film about high school dropout BFFs who take a week off to chill at the beach–too bad their house got robbed, rent’s due, they’re about to get fired and they’re broke.

    “Neil came to us right out of film school years ago eager to do and learn anything we did,” recalled Tammie Kleinmann, Lucky Post CEO. “His sincere approach to work never wavers and he elevates each project with his unique blend of intellect and artistry.”

    A natural researcher and explorer, Anderson has an interest in cameras and color science that prompted him to gain a deeper understanding of why images look the way they do and inspired a burgeoning career as a colorist.

    “He is quiet and ardent observer of life’s design, from light and shadow on a city street to bold color blocks in a Wong Kar-wai film,” adds Tim Nagle, Lucky Post finish artist. 

    “Lucky Post allowed me to focus where I wanted my career to go. They supported me in the educational opportunities I wanted to pursue and resources were never limited,” said Anderson. “Color is like magic to most people; the process feels like happenstance and you don’t realize how it’s supporting the narrative until it’s not. I love the challenge of each project and mining through color theory to achieve the best results for our clients.”

    The addition of color expands Lucky Post’s creative suite, offering an integrated and comprehensive approach for agencies and clients, including creative editorial, motion graphics, sound design, finish, and VFX.




    Does “Hundreds of Beavers” Reflect A New Path Forward In Cinema?

    Monday, November 25, 2024

    Hard as it may be to believe, changing the future of cinema was not on Mike Cheslik's mind when he was making "Hundreds of Beavers." Cheslik was in the Northwoods of Wisconsin with a crew of four, sometimes six, standing in snow and making his friend, Ryland Tews, fall down funny.

    "When we were shooting, I kept thinking: It would be so stupid if this got mythologized," says Cheslik.

    And yet, "Hundreds of Beavers" has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik's film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.

    "Hundreds of Beavers" is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.

    No one would call "Hundreds of Beavers" expensive looking, but it's far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck's snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and "Naked Gun."

    At a time when independent filmmaking is more challenged than ever, "Hundreds of Beavers" has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.

    After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, "Hundreds of Beavers" has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.)... Read More

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