News
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January 20th, 2023
Eschliman Studio is pleased to announce its new project OneDay
OneDay’s first gallery showing will be at the Sarah Shepard Gallery.
January 21, 2023 - March 1, 2023.
Join us for the opening on Saturday, January 21, 3-5pm.
See more at Sarah Shepard Gallery
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January 10th, 2023
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Location: Eschliman Studio, San Francisco
Length of Shoot: 3 Days
We worked with Manual Creative’s team to create visuals to help launch Mill, a client with a good product and great intentions. Mill’s first product, a kitchen bin for food scraps dries, shrinks, and de-stinks your food scraps for you. For those of us reluctant composters, it changes the experience and makes it better. Greenhouse gas from global food waste does more damage to the planet than the entire airline industry and Mill is out to change that. But back to the scraps, we dropped them through the air for slow motion footage, Abby Stolfo created the most artistic food scrap piles possible. We shot them from above and shot them from the side. Any shoot with Manual Creative is enjoyable. When the shoot involves shooting food scraps (which are not trash), even better.
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September 29th, 2022
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Location: Eschliman Studio, San Francisco
Length of Shoot: 2 days
No better way to end 2022 than with a studio full of beer. We spent 2 days creating still and motion content for the state of California’s Visit CA magazine. It was a pleasure having many of California’s best beers all in one place and a challenge to keep them all organized.
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December 21st, 2021
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Location: Eschliman Studio, San Francisco
Length of Shoot: 2 days
Each shoot for Rothy’s has been great. For Rothy’s Spring 2022 visuals, we used baby swimming pools, many flowers, some tennis balls and a pile of eggplants. Another great couple of days spent with a good crew and great client.
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December 20th, 2021
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Location: Eschliman Studio, San Francisco
Length of Shoot: 5 days
It’s not everyday that a creative brief asks us to make food suspicious. This was a strong campaign created by VMLY&R for Lidl a European based grocery chain. We enjoyed creating a Loch Ness Monster from a banana and recreating Stonehenge with a baguette. Strong creative and strong team for this project. In particular, Anna Keville Joyce, our food stylist, brought her problem solving ‘A’ game.
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March 24th, 2021
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Location: Eschliman Studio, San Francisco
Length of Shoot: 2 days
I always enjoy getting to explore the materials that are used in manufacturing but rarely are the raw materials our focus. Rothy’s is an innovative brand with a goal of full circularity in production by 2023. We spent a couple of days in the studio with their materials making visuals for their spring Circularity campaign. It’s doubly rewarding to make visuals for a company with such lofty goals to protect our environment.
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February 20th, 2021
Metadata:Location: Eschliman Studio, San FranciscoLength of Shoot: The time it takes to take yet another Covid test, One pre-light, 2 daysFor the last shoot of 2020 we spent several days creating motion and still content for Rothy’s new Circularity campaign. Circularity showcases their commitment to sustainability and we were happy to contribute. Good fun melting some plastic, studying Mark’s home grown algae, and pulling some wool. Great crew, great client. More to come... -
November 20th, 2020
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Location: Eschliman Studio, San Francisco
Length of Shoot: One pre-light, 2 days, 5 hours of OT
On the surface it didn’t appear to be the case, but practically speaking, the fourth set of animations for Sephora was the most ambitious. Being a music lover, I think the set design was the strongest so far. We employed a traditional approach to animating each frame but had some interesting challenges to tackle along the way. Like the turntable we were animating, our heads were spinning a bit at the end.
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August 1st, 2020
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Location: San Francisco, CA
Length of Shoot: Ongoing
Taking a little time to do some print testing an art project that’s been in the work for years now. Getting closer...
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July 14th, 2020
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Location: Eschliman Studio, San Francisco
Length of Shoot: Two days, with plentiful OT
More animations for the team at Sephora. With each edition, the set design gets more interesting and complex. Making paper water splashes appear realistic was challenging but ultimately successful I think. We try to give Brian his 6’ but it’s hard. The tape helps.
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July 10th, 2020
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Location: Desolation Wilderness, CA
Length of Non-Shoot: A week
I took some time away for a couple quick backpacking trips with my favorite people. Although I’ll always favor the Rockies, the Sierras are amazing and the Desolation Wilderness is one of my favorite escapes. The pandemic was in full swing and the election wasn’t that far off. With fires nearby, even the wilderness felt a bit unsettled. We thought it was a break before more hunkering down. Little did I know that we were about to spend a full eight weeks on set over the next 3 months.
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May 28th, 2020
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Location: Eschliman Studio, San Francisco
Length of Shoot: A few days that felt like a few more days due to the masks that were a fairly new on-set experience at the time.
After taking a minute in early April, we got back to work. In May worked with eBay to create some cross branded animation content with Adidas. After a couple of early Covid shoots that we wore gloves throughout, it was a relief to work without gloves again.
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April 29th, 2020
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Location: Eschliman Studio, San Francisco
Our April was defined by Covid. A quiet studio gave us an opportunity to refresh the studio. True to Eschliman Studio, a lot of white and black, some gray and a touch of color. The quiet streets offered one nice person the opportunity to break nearly all of the studio windows over a stretch of a week or so.
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March 20th, 2020
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Location: Highway 89, Placer County California
Length of Shoot: A few days to play around. One day to wait for the right moment. One 20 minute drone flight.
I love the mountains. I also feel really lucky to be able to spend a lot of time in them. This shoot took place 2 days after a spring dump. After the storm I had to wait for the clouds to part and the road to clear to create the contrast between road and snow. While waiting, I didn’t mind doing some back-country laps with the boys.
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March 10th, 2020
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Client: Sephora
Location: Eschliman Studio, San Francisco
Length of Shoot: Pre-Light, Two days
I love working with the production team at Sephora. This was our first collaboration with Kaylan George who did a stellar job with the sets. I’m sure there are laws against putting models under tables for extended periods but both of our hand models were incredibly professional and patient. Also, their hands were amazing. Smooth as silk production with Ahmer watching over.
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February 27th, 2020
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Client: Vicarious
Location: Vicarious Headquarters, CA
Length of Shoot: Tech scout, Pre-Light, Two days
This was our first project with the team at Landscape. It was enjoyable spending a few days with a talented art direction team and a great client. I couldn’t have been more impressed with Vicarious’ talented employees. It was also nice of them to let us take over for a bit and bring in the lights, camera, jibs, and action. Great working with a new DP (who decided to move far away shortly after the shoot). The crew really enjoyed sitting next to each other staring at their phones during breaks. Peter Scott cracked the whip as producer and we got out of there on time and on budget.
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February 20th, 2020
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Location: North of San Francisco
Length of Shoot: 2+ days of location scouting, 24 hours on a hillside
In the back of my mind I’ve been looking for this location for years. A seascape facing South so the sun would pass across the frame at mid-day and setting out of frame to the right. This time of year in Northern California that direction was about 190 degrees South. While on the hillside the raccoons ate the food stashed in my tent below but they didn’t drink my Sufferfest Beer. I did that.
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December 10th, 2019
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Client: Future Advisor
Location: Eschliman Studio
Length of Shoot: One day pre-light, two day shoot
More stop motion with Dustin Smith of Smith & Co for Future Advisor. This time around we decided we needed to make marbles do things they don’t want to do. This required each and every Cartellini the studio had to offer.
Christine Wohlheim did a stellar job creating our Sushi pie chart.
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August 15th, 2019
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Client: Walmart
Location: Milk Studios, Los Angeles
Length of Shoot: One day pre-light, three day shoot
Besides the wrap beers, problem solving is my favorite part of my job. Creating a seamless image that wraps all three sides of a Walmart semi truck trailer (111’ x 8.5’) requires problem solving. One hundred thousand pixels wide clearly requires a dolly move.
My crew worked with a great team at Saatchi NY / Dept W along with sort of really awesome producer Michael McClellan at MadActive Productions to make it happen. Destiny our on-set wonder dog pretended to be a stuffed animal and seemed to really enjoy the craft services. Adam Moore at Sugar Digital brought it all home.
I do love LA. Lovely studios, great sunsets, nice hotels, long runs on treadmills in nice hotels.
We just might have executed two other concepts for Walmart that could see the light of day soon.
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May 17th, 2019
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Client: Snickers
Location: Root Studios, New York
Length of Shoot: Two days pre-light, storyboarding. One day flying over my snowy home state of Colorado. One day in studio. One day flying back over my snowy home state of Colorado.
Each year, Snickers buys the back cover of Sports Illustrated’s Swimsuit issue. For this year’s ad we fitted a Snickers bar with a bikini. We also created a :15 spot featuring candy bars walking a miniature catwalk. An enjoyable collaboration with a great creative team from BBDO NY and talented stylist Marie-Yan Morvan. Sometimes my job is really fun.