Former major agency creative director, Brigg Bloomquist did not forget his Chicago associates when choosing a post house to finish an eloquent portrait of an athlete’s life in a new piece for Nike.
Most recently with Ogilvy & Mather now an established spot director at Go Film in San Francisco, Bloomquist directed a Nike piece, “No Angel,” that through beautiful visuals showcases and celebrates the individuality, struggle, honor and rewards of athletes even when they remain outside the spotlight City of Angels’ spotlight.
Bloomquist directed for year old San Francisco boutique agency, Union Made Creative, and brought the finish to Chicago-based Beast editorial, where he had previously worked with executive producer Melissa Thornley and Beast’s affiliated companies, Method Studios for Smoke artistry and Company 3 for color correction.
“I was blown away by the intensity of the athletes,” says Beast editor Morgan Bradley, who spent a week working with Bloomquist and Union Made’s CCO Keith Cartwright, to pull together the disparate narratives into a chronicle of determination.
Method’s senior Flame artist, Bruno Fukumothi, says he experimented with grain and lens flares, noting the grain was treated differently depending on the light caught in camera. “On a few shots, lens flares were added to push natural effects even further and the results were even better than we had hoped.”
Colorist Tyler Roth says that “sneaking hints of sunlight or gradated warmth into the sky, even the darker, grittier scenes took on an L.A. glow,” and they could emphasize the different vignettes while preserving the unifying storyline of anonymity through color and texture.
Bloomquist, who came to Chicago via Tracy-Locke in Dallas, had been a CD at Ogilvy before heading west where he freelanced for Nike, the San Francisco Film Festival and Morgan Creek Productions. Also in Chicago he had been a CD at Draftfcb and a writer/ACD at Element 79.
Bloomquist had high praise for the combined efforts on the Nike piece. “The process was seamless. We had work done on this project in San Francisco, L.A. and Chicago and it never felt disjointed,” he says.