Matt O'Donnell

This adorable spot was cooked up by the awesome creatives at Pereira O'Dell. Production and VFX was done by the incomparable Framestore. Featuring celebrity voice cameos from Bradley Cooper and Steve Carell and their animated counterparts. But the real stars here are the kids, who were hilarious. There are some amazing outtakes on this one.

Role: editor

I teamed up with my longtime friends over at Bonfire Labs and worked hand-in-hand with internal Logi creatives and director Tim Tadder to create this 60 plus a whole slew of 30s, 15s, and 06s to round out the campaign. Bonfire's team of amazing artists handled the CG and most of the compositing, while I handled offline edit through delivery and even pitched in on some of the compositing work. It was a huge team effort!

Role: editor, compositor, online editor

These trippy and more than slightly insane spots were birthed from the beautiful, if somewhat unstable mind of director Adam Avilla and were produced by the amazing folks over at WTBR. The mind-bending visual effects were pulled off by WTBR’s own Simon Mowbray and his team of magical gurus. Music and sound design by Sonos Sanctus.

Role: editor

Director Adam Patch teamed up with the madcap creatives over at Gold Front to cook up this wacky piece that manages to feel both retro and new all at once. Compositing by Ivan Miller and color by Sean Wells.

role: editor, online editor

Crypto can be confusing. I worked with my friends over at Bonfire Labs and director Rafael Fernandez, along with our client Bitwise, to make everything a bit simpler for crypto investors.

role: editor, compositor, online editor

As a certified bike nut, I was beyond stoked when Specialized Bicycles came knocking. Director Ian Schiller has a long and close relationship with the cycling giant that allowed the client to trust him to re-invent the mountain bike announcement video. See if you can spot my cameo in the Specialized suspension lab.

Role: editor

I worked with San Francisco agency Gold Front and Nashville based production company Farmuse to bring this short story to life for the brand GiftNow. I collaborated closely with the agency during the creative editorial process and also composited all the mobile device shots along with some other paint/compositing work.

Awards:
- American Advertising Awards, National Gold Addy, Video Editing
- Greater San Francisco Ad Club, Silver Award, Video Editing

Roles: editor, vfx/compositor, online editor, post supervisor

This project was so meta. The in-house Google creative team and I worked remotely to produce this short spot about the Yahoo Finance team working remotely. We partnered with Bonfire Labs for production and compositing support. Andy Serwer’s interview was filmed using a “multi camera” setup consisting of his laptop’s built in camera and two iPhones. I think his wife did a phenomenal job operating the “B camera”.

Roles: editor, vfx/compositor (additional compositing by Bonfire Labs)

As a child of the 90’s, I have an intense love for the golden era of The Simpsons. Teaming up with Camp & King on this year-long project was a dream for everyone involved. The Simpsons hadn’t been in a television commercial for a brand other than their own since Bart was slinging Butterfingers. Everyone from the assistant editor to the head of the agency thought it’d be killed at any moment. But, after many months and rounds of review we delivered and even got an AdWeek Ad of the Day.

Role: editor, online editor

Roles: editor, vfx/compositing, online editor

These touching stories were a pleasure to cut. I love short form documentary filmmaking like this. This two part series was a joint effort between the in-house creative team at Lyft and the production company Strike Anywhere. Directed and shot by the amazingly talented Joshua Weinstein.

Roles: editor, finishing editor

I love projects like this. The footage I was given was an amazing collection of interviews conducted by Salesforce’s über Creative Director Bryan Ebzery. I had a great time in the Bonfire Labs edit suite getting to know these subjects. The footage was actually shot on green screen with the intention of compositing in various backgrounds. But once we found these moments that we’d strung together we loved them so much we didn’t want anything to distract from them. So boom - after a bunch of compositing work from the Bonfire team, a grey cyc.

Role: editor

Role: editor

I teamed up with the awesome in-house creative team at Logitech to create this spot as part of their Defy campaign. I particularly love this piece because you can’t tell it was shot at the height of COVID in New York City. The director, Martin Dicicco got an amazing amount of coverage in spite of the hurdles of a tight deadline on top of all the constraints posed by shooting during the pandemic.

Roles: editor, vfx/compositing, online editor

I’m constantly telling directors I’m more than willing to be on set, especially when production is in Thailand. Unfortunately that didn’t work this time. But fortunately director Mike Jacobs of Strike Anywhere came back from Thailand with an endless supply of gorgeous footage.

Roles: editor, online editor

Director Mike Jacobs of Strike Anywhere bringing the goods as usual. Most people assume this is a visual effects spot, but it’s not. Cinematographer Michael Gioulakis shot everything practically.

Role: editor

There was a magic time when True Detective was brand new and everyone was super hyphy about this look. Director Mike Jacobs took it for an awesomely technical and creative spin with this spot for Flipboard. This was the only time I got to work with footage from the RED Epic Dragon Monochrome. A 6k capable camera that shot only in black & white, using the data overhead that’s saved by the lack of color for greater detail in luminance. The camera was operated on a motion control rig with a simple lighting cue taking the subject from silhouette to fully lighted. This meant no time-consuming rotoscoping and just pulling a simple luma key. This project would not have turned out so awesome if not for the great compositing and finishing work of Noe Chavez.

Nominated: Best of San Francisco, AICE 2015
“My Magazine: Steve Hawk”

Role: editor

Life is nice when you’re working with images this pretty. Directed by Mike Jacobs of Strike Anywhere.

Role: editor, online editor

Jonny Moseley is a legendary Tahoe, CA olympic skier. Northern California Toyota agency H&L Partners teamed up with Strike Anywhere director Mike Jacobs to bring these energetic spots to life. The most fun part of this whole campaign was watching the helmet mounted GoPro footage - that’s actually Jonny skiing.

Role: editor, online editor, vfx/compositing (in conjunction with CTSF)

It’s all rear projection! How cool is that?! Great fun working with the team at Heat on this one.

Role: editor

The annual The Poseys campaign for Northern California Toyota featuring Buster Posey, his wife Kristen Posey, and a rotating cast of Giants affiliated personalities is a Bay Area tradition I was proud be a part of. Also, I got to help take footage we shot of Willie Mays in a folding chair in a parking lot next to AT&T Park and make it look like he was on top of a mountain. Awesome vfx/compositing work done by the team at Beast San Francisco. Can you spot the completely CG grass?

Roles: editor, online editor, vfx supervisor

The most important thing to know about this adorable social campaign is that while my then assistant, Grey Rosado voices the golden retriever, I was unceremoniously fired as the voice of the pug. Luckily I still got to edit the spots. And honestly, creative director Kevin Turner is hilarious as the pug.

Roles: editor, color correction, online editor, dismissed VO talent

Yes, that’s me making drowning noises. Additional motion graphics work and finishing by Ivan Miller.

Roles: editor, motion graphics

Do you know how hard it is to make a bunch of random household items make music?! I think David Della Santa knocked it out of the park on sound design/music.

Role: editor