170 community members. 38 locations. 20 crew members. One City’s pride. And a decade of trust that made it all possible.

Fifteen years into running a video production company, certain projects redefine your benchmarks. Game On — the new commercial campaign for the City of Ontario, California — is one of them. What began as a creative idea built around a song and an attitude became a full-scale production which captured the energy of an entire city.

This is how we did it.

The Creative Foundation: Tone First, Everything Else Second

A project of this size is built on careful preparation, thoughtful inquiry, and a remarkable degree of trust. But the truth is, tone is where a something like Game On lives or dies.

This campaign is about the undercurrent of pride that flows through the city of Ontario, a community that’s historically been counted out or confused with Canada. Game On’s direct and confident antagonism aims to challenge the narrative that Ontario is just another city along the eastbound freeways of California. It’s a place that thrives on foolish underestimations. And with the opening of ONT Field and the Ontario Sports Empire this spring, it is a city executing a big vision for the future.

Using sports as a metaphor, our goal for Game On was to convey a “middle fingers to the sky” attitude. We aimed to draw the parallel between the intensity of an athlete in-training and the fervor of a city on the rise—showcasing the community members, businesses, artists and musicians that shape Ontario, culturally.

Getting the tone locked before production began wasn’t optional. It was the decision that made every downstream decision faster and cleaner.

Pre-Production: The Work That Determines Everything

With that specific vibe in mind, Co-directors Byron Watkins and Joshua Krause developed a script and an ambitious mixed-media pre-visual— a structured assembly of imagery and rhythm that gave the production team a shared creative blueprint before a single frame was shot.

This is the stage of production where creative concepts meet tangible logistics and when client relationships take center stage. This is the part where our team asks: how far can we push this idea? Just how many places can we get access to? How many people can we involve?

Our ten-year partnership with The City of Ontario is the foundation that allowed us to be as visionary and as bold as this project demanded. It gave us the opportunity to be tenacious in our requests for access and audacious in our planned execution.

Our producer, Joann Mercado Hicks, coordinated closely with the City’s Economic Development Agency — Amber Cruz and Denise De La Peña — to translate the script and pre-visual into a detailed production plan.

With the help of our production team, 38 historic Ontario locations were confirmed and 170+ local community members were cast. Props were ordered and wardrobe sourced. And once the planning was finished, our crew made their way to Ontario to begin physical production.

Physical Production: Two Units, 38 Locations, Four and a Half Days

For four and a half days in February, Windsong prepped to have two independent units filming across the city. Cinematographers Justin McAleece and Peter Alton aligned to ensure the footage would match in the edit, stylistically. Then, our production team hit the ground running.

Here’s what it looks like to have two units filming at once: while one team was capturing a youth league at a local park, the other was filming on the mound at ONT Field. While one team was lining up classic cars for a shot along Route 66, the other was directing horseback riders as they cantered through an equestrian park.

In all, each unit averaged five locations per day and continually grasped at new opportunities for footage to drive the authenticity and vision of this project forward.

As filming commenced, we got word that the Ontario Christian High School girl’s varsity basketball team was poised to take home the CIF division title — the smallest sized school to win the open division. Our production team was tenacious in finding a way to include this story in the city’s commercial. With persistent communication and a pivot on production day, we connected with the coaches for few hours of filming with the team. One month later, the team took home the CIF championship.

Anecdotes like that have given us the perspective that on-set, the energy of Game On didn’t just represent Ontario, it lived within us too. It gave us focus and drive for the scenes we put together. It helped us push through long filming days, inspired to see what could unfold next.

And what we ultimately created, we’re pretty damn proud of.

The Result

Game On premiered at the 2026 State of the City where we saw the Ontario business community react to our work in real-time. It’s not often we get to witness a project we poured ourselves into find new meaning with others. These are the kinds of moments that remind us why we do what we do.

Game On is the kind of project that sharpens a team. It demanded precise logistics, creative flexibility, and the collaborative trust that only comes from a long-term client relationship. This was never about making just any commercial. It was about giving a visual definition to a community’s culture to encourage tourism. And we did this by listening and connecting — with the city, its goals, and the people who inhabit it.

To the City of Ontario and its Economic Development Agency: every location, every face in front of the lens, every frame in the cut reflects what we’ve built together. We’re proud of this work — and even prouder of the partnership behind it.

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The campaign consists of three spots, each designed to highlight the ease and efficiency of traveling through ONT— told through humor, relatable characters, and sharp visual storytelling.

Producing a commercial inside an active airport requires precision, preparation, and teamwork. For “Not So Fast,” our team at Windsong Productions spent significant time in pre-production coordinating with HMG and ONT to ensure every detail aligned with operational realities.

Working within TSA guidelines meant carefully planning what equipment and personnel could go beyond security checkpoints, and scheduling shoot days around live flight activity. Our production team worked closely with ONT to choreograph each scene around the natural rhythm of the airport. To keep production running efficiently, we even built a fully dressed bedroom set on-site for the opening of the concept, “Family,” allowing us to transition seamlessly between locations without losing time.

Speaking of time, it was our most valuable commodity for this project. Why? Each of our three concepts were captured in two languages. Thanks to our partners at HMG, we collaborated with their Creative Director/Copywriter, Christine Coe, and Spanish Creative Director, Digna Roque, for the entirety of the production process. This allowed us to create nuanced, comedic commercials for our Spanish speaking community. Producing a dual language project in this timeline requires a team alchemy and near-perfect preparation to remain on time, on vision, on budget and enjoy the process.

Each commercial presented its own creative and technical challenges, and each required a slightly different approach to performance, pacing, and production design. Here’s a look behind the scenes of how our team brought these ideas to life.

Family Travels:
In Family Travels, we follow a classic scene many travelers know too well—a dad determined to get to the airport way too early. His teenage daughter, our protagonist, is less than amused, especially since ONT is known for being “so easy.” The result? The family arrives so early they have time to nap in the terminal.

This spot was heavily performance-driven, so casting became one of the most important parts of pre-production. We spent several weeks finding the right mix of talent—actors who not only looked like a real family but could also deliver the subtle timing required for this kind of humor in both English and Spanish. The dynamic between the Dad and the less-than-enthusiastic teen needed to feel authentic, with just the right balance of exasperation and affection.

Misguided Traveler:
The Misguided Traveler spot was an entirely different kind of challenge. Structured as a mock testimonial, the story centers on a traveler who insists on keeping her identity hidden. She confesses that she made the mistake of flying out of a more crowded airport, only to realize she should have chosen ONT instead.
This concept relied heavily on visual storytelling and technique. To maintain her anonymity while keeping the scene visually engaging, our production team employed a variety of creative solutions: strategic lighting setups, practical shadows, and carefully designed blocking that revealed just enough while keeping her face obscured. The effect required precise coordination between camera, lighting, and performance. It was a technical puzzle that showcased our team’s ability to solve creative challenges in-camera, rather than fixing it in post.

First-Time Business Traveler:
The First-Time Business Traveler concept began as a story about an awkward, out-of-place, first-time traveler. Over time, and through the casting process, the tone of the commercial evolved into something more sincere and whimsical. Our lead actor brought an unexpected innocence to the role of a man who’s never flown before and is genuinely delighted by how smooth and welcoming the ONT experience is.
On set, this shift transformed the piece. Instead of playing into cynicism, we leaned into discovery and wonder. The actor’s natural reactions became central to the storytelling, supported by clean camera work and direction. What emerged was a spot that feels genuine and optimistic—a reflection of ONT’s brand.

The Team Behind the Spots:
Producing “Not So Fast” reminded us that comedy is often about precision—timing, tone, and the subtle craft that makes each moment land just right. Working with HMG and ONT allowed us to bring these stories to life in both English and Spanish and with both technical expertise and creative freedom. Each part of this commercial campaign required its own rhythm and approach. Together, they tell a cohesive story: that travel through ONT isn’t just fast, it’s easy.

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In her acceptance speech, Jordan expressed gratitude and, true to form, pledged to “work even harder.” That moment summed up what we already know about her: she’s driven, humble, and committed to raising the bar with every project she takes on.

At Windsong, we’ve seen firsthand how Jordan’s creativity, focus, and dedication elevate each production she touches. She has not only become an invaluable member of our team, but also a rising voice in our community. We are incredibly proud to see her talent recognized by AAF Fresno and can’t wait to see what else this powerhouse Production Assistant can do!

Congratulations to our Rising Star, Jordan, on this well-deserved award!

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I wake up on a typical filming day with all production gear packed. Snacks and drinks for the crew, a kit of supplies that could be called upon at a moment’s notice, clipboard in hand. But my work doesn’t start here.

Back in the studio I am painting, crafting, drafting, building, sourcing, collaborating, and yes, there is the dreaded, yet essential emailing, but it must be done! This was a lot to take in for a rookie like me.

Before working at the studio, I was working on my own creative projects that had no strict timeline of events— it just happened when it happened. I could take mindless jobs to fund my solo undertakings. And no, I definitely didn’t have to email anyone about these things since it was basically a one-woman show.

Coming to the scene where these worlds collide, necessity and creativity, was quite jarring at first for a freelance artist. Gradually though, it became my new normal, and knowing that I wasn’t alone, made it all that more encouraging. I have my lovely team, who had all been in my shoes at one point in time, and my fellow onboarding mate (now a certified homie) to make this transition a navigable one.

Now, to see these projects that we have worked so diligently on come to fruition in all their glory, knowing there were bumps along the way (which are bound to happen) makes this all the more satisfying. There is something about leaving a project with a sense of accomplishment, that tangible creation to physically look back on with a shared feeling of communal pride.

My first 90 days were a wild ride, to say the least, but I have learned such an incredible amount thus far, and there is still so much left to uncover. In a way, I still very much feel like a rookie, but I’ve got some experience under my belt, which I now carry and refer back to as I traverse the ever-present challenges and opportunities ahead.

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Since joining Windsong Productions in 2011, Jo has become a vital member of our team. From her beginnings as a Production Assistant and PR Manager to her current role as Producer and Production Manager, she is a breathing embodiment of our core value, that “work is love made visible.”

Jo’s contributions extend far and wide, from bringing in talented new Production Assistants like Abby and Jordan to nurturing long-standing relationships with clients such as the City of Ontario and the California Table Grape Commission.

Her presence may be rooted in Los Angeles, however, Jo’s impact is felt across our production studio and beyond due to her genuine curiosity for others and innate relationship-building prowess.

With 14 years under her belt, Jo’s mission to foster diversity on set shines brightly, showcasing her deep commitment to inclusivity in all aspects of our work. Her legacy will reflect her high level of care, love, and respect not only for the intricate production process but for each crew member bringing the vision to life. Her meticulous organization and genuine empathy for others make her a producorial force to be reckoned with.

Beyond her impressive professional achievements as a producer, Jo is a passionate advocate for social justice, volunteering with Colin Kaepernick’s “Know Your Rights Camp”. Her work with this organization is what she calls her “me time”—and that, alone, tells you so much about who Jo is as a human.

When looking at the road ahead, Jo is not one to shy away from a creative challenge. She continues to push the company toward new genres of production and thinks big when it comes to what’s next. “I want to know and be immersed in what it takes to produce a feature or a scripted show,” said Jo. “A whole new level of stress, the unknown and fear I’d like to unlock.”

Jo’s story will be one of inclusivity and precision with storied footnotes citing “impeccable set-style” and “solid crafty game.” We could not think of a more passionate creative or a more deserving recipient of this year’s “Employee of the Year.”

Three cheers for Jo!

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A local, Fresno video production company? Posting so soon after my graduation?

I had to apply. I honestly took it as a sign that this was the job I was meant to be at.

I wondered about the name “Windsong” for a while, but once I got hired, my mind went into sponge-mode, trying to soak up all of the shoots and meetings I got to be a part of, and responsibilities that I now had. After seeing the cool, behind-the-scenes moments and meeting these industry professionals, I started to doubt my freshly graduated, experience-lacking, newbie self.

“Is it really alright for me to be here?” I thought.

But, day-by-day— with more tasks, more lessons, more conversations with the Windsong team— my worries turned into awe, and my awe into respect and motivation.

Everyone here was in the same boat as me at one point in their careers, and because of that, all they’ve given me are wisdom and encouragement, and welcomed me warmly. It means the world! And with a team like this, it would be disrespectful to not give my best when they’ve kindly put their trust in me as member of their team.

These past few months have made my heart full of gratitude for many things: for being taught and trusted to handle pre-production tasks by the producers; for the production team giving me their patience and valuable tips n’ tricks; for being shown the art of editing and communication by the post-team; for my desk-mates’ support and fun conversations!

Just recently, I finally learned of the origins of Windsong’s name, coming from a line in the book, *The Prophet*:

“And he alone is great who turns the voice of the **wind** into a **song** made sweeter by his own loving.

Work is love made visible.”

I can confirm that the people of Windsong indeed work with love, and I’m proud to be working with them.

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Scene-by-Scene: A Creative Challenge

As a full-service production company with a passion for storytelling, we thrive on pushing creative boundaries. When given the opportunity to reimagine two very specific scenes from Home Alone in a shot-for-shot remake, our crew came together to craft something truly special. Inspired by the skills of our in-house Production Designer, Max Martinez, the team took a hands-on approach, constructing intricate miniatures, dynamic set pieces, and our extensive puppet collection to put an absurdist lens on our assigned scenes.

The Power of Practical Effects

Rather than a traditional live-action approach, we leaned into the magic of practical effects. Our talented crew designed and built detailed miniatures that replicated the film’s iconic mid-western, winter road. Our Art Department re-created a white blanketed Chicago road, while the puppetry applied to our live-action scene added a whimsical, handcrafted charm.

Beyond these niche techniques, we employed some traditional production tactics to make each scene feel authentic to the source material. Our production assistants, Abby Edwards, and Jordan Singh, brought a detailed eye to the wardrobe and props. Then, we kept the cast local.

We cast Assistant Producer, Chelsea Gue, as Kevin’s mom—bringing in professional hair and makeup to capture her iconic early 90’s style. Crew members Tony Bennett, Cody Fletcher, and Vince Cosentino made cameos as the Kenosha Kicker Polka Band. Finally, John Candy’s character, Gil Polinski, was puppeteered by Byron Watkins, Jordan Singh, and Cody Fletcher.

The result? Two sequences that showcase the ingenuity, craftsmanship, and camaraderie that we pride ourselves on at Windsong.

Why Community Participation Matters

This event was more than just a fun exercise—it was a testament to the power of collaborative storytelling and community. Crowdsourced film challenges encourage innovation, bringing together seasoned professionals and aspiring filmmakers alike. For our team, it was an opportunity to experiment, refine our craft, collaborate internally, and engage with the local creative community in an entirely new way.

The Premiere Event & Where to Watch

The final Home Alone remake—stitched together from the creative efforts of over 40 local participating groups—premiered on December 3, 2024, at CMAC in downtown Fresno. The collaborative project is now available to stream on CMAC’s website, showcasing the passion and talent of Fresno’s filmmaking community.

Behind the Scenes at Windsong Productions

At Windsong, we don’t just make videos—we craft experiences. Our work spans commercials, branded content, live events, and documentaries—always with a keen eye for detail and a passion for pushing our creative boundaries. Whether it’s through creative concepting, practical effects, visual effects, handcrafted set design, miniatures, stop-motion, puppetry, stunt work, or animation – our team is dedicated to producing top-tier work that leaves a lasting impression.

Want to see more of our work? Follow Windsong Productions on socials and check out the full Home Alone crowdsourced film on CMAC’s website.

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Max’s deep understanding of set design, miniatures, stop motion, and fabrication is nothing short of masterful. His attention to detail is meticulous, and his ability to create immersive, nuanced environments with emerging technologies pushes forward our company and our industry. Max doesn’t just design sets—he crafts impactful experiences that resonate with the audiences that consume our media.

What sets Max apart is not only his technical skill but also his collaborative spirit. On set, his calm and approachable demeanor fosters a positive and productive atmosphere. He builds strong, trusting relationships with everyone he works with, both on and off the clock, which has been instrumental to our collective success at Windsong.

Max’s dedication to his craft and to creativity generally is evident in every project he touches. He pours his heart and soul into his work, always going above and beyond to ensure that every detail is perfect. In addition to his exceptional talents in production design, Max is also a gifted musician, showcasing his artistry on both the drums and piano. We consider him to be a renaissance man and are incredibly fortunate to have someone of Max’s caliber on the Windsong team.

Congrats, MXA!

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It’s not just Max’s creative talents that make him a key part of our Windsong Productions crew—his unmatched humor keeps our team laughing, even during those intense production days. Max is a shining example of the innovation, passion, and creativity that define Windsong Productions. Whether you’re looking for top-tier production design, expert set decoration, or a pro in miniature construction, Max is the go-to guy who turns visions into visual art.

Cheers to you, Max!

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Austin has been an integral part of our team, where his expertise in visual effects has elevated our work to new heights. Whether he’s crafting mind-blowing VFX sequences or fine-tuning the smallest details in Adobe After Effects, Austin’s contribution to our team has been nothing short of extraordinary. His dedication to his craft is evident in every frame, making our projects stand out in the vast landscape of video production. We’re incredibly proud to have Austin on our team and can’t wait to see where his talent and innovation take him next!

Check out some of Austin’s best work to date:

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