Production affiliation: Internationally - Flying Tiger Films
Years directing: 2
Shoot days in 2001: 50
Geography: American, based in Los Angeles
Personal favorite spot: Visa "Bobsled"
Extreme cred: Not only did Obermeyer (the son of an eponymous ski apparel magnate) literally grow up on the slopes of Aspen, the man surfs, climbs and can most likely kick your ass (he has a black belt in Karate).

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Beautiful film of breathtaking vistas and seamless extreme sport action are Klaus Obermeyer's hallmark.

Since moving from shooting oh-so-extreme ski flicks, Obermeyer shot Visa's Olympic campaign for BBDO New York, and spots for BMW for Fallon Minneapolis, Samsung International for FCB New York, Chevrolet for Campbell-Ewald Detroit and most recently, a 60-second spot for the US Marine Corps out of JWT Atlanta. While some contain extensive special effects, all are based in very organic looking film, imbuing the work with a natural feel.

Obermeyer likes the challenge of combining different elements. Visa "Bobsled" for example, enabled him to meld beautiful visuals with impressive action and a humorous narrative. In the spot, a women's bobsled team doing a high-speed night training run (filmed from several different angles) suddenly brakes for a white rabbit wandering around the track.

Last year, Obermeyer was chosen from a hundred directors by JWT to shoot the first recruiting spot for the Marine Corps in almost five years. "The Climb," shot in Monument Valley, shows a recruit climbing up the face of a towering rock with his bare hands, a metaphor for the demanding path to become a Marine. Images projected on the side of the rock represent the history of the Corps. At the peak, the recruit is transformed into a Marine in full uniform.

The ambitious project was shot in collaboration with the Marines, who provided the talent as well as the helicopters with which the crew and tons of filmmaking gear were flown to set atop the 600-foot rock face. Helicopters were also used to lift a 2,500-pound Techno crane halfway up the side of the rock, where it was secured on a small platform and used to record some of the most daring climbing scenes. The logistically challenging spot was shot during five days in August and required additional shoot days on a special effects stage. Post-production carried on through fall.

Obermeyer credits the supreme effort of his team as well as of the Marines for the commercial's success.