Studio’s directors Nicolas Ménard and Manshen Lo design hand-drawn 2D animated titles for streamer’s new dark, quirky stop-motion animated anthology.
“In the city that never sleeps, the truth is bound to be exposed. Juxtaposing the slow-burning dramatic soundtrack, we used whiteout, felt pens, and glue to hint at the coaliting evidence of a malicious crime. New York marquees made in bold hand-written type embrace the spirit of the gritty punk rock zine culture while we referenced street flyers of the Lower East Side. Making each credit feel like its own poster, the Xerox machine served as a source to illuminate the frames, scanning the city for answers. Challenged by finding the balance between dark and light themes within the series, we sparked a conversation around civil unrest post 9/11 and gentrification. No secrets here, we plotted easter eggs in a main title that ought to be criminal.”
Creative Directors: Karin Fong, Rob Slychuk
Designer/Animator: Henry Chang, Max Strizich, Anna Chen, Rob Slychuk
Designer: Kathy Liang
Editor: Lexi Gunvaldson
Additional Illustration: Sara Gunnarsdóttir
Intern: Karry Lee
Senior Creative Producer: Renee Robson
Coordinator: Jackson Kerr
Music: Jason Hill
]]>For centuries they have existed underground, an entire culture, an entire ecosystem. But a question persists: what lies above?
]]>The series tells the origin story of the 1950s girl gang Pink Ladies. The musical series takes place at Rydell High in 1954, four years before the set of Grease.
Creative directors: Karin Fong, Kathy Liang
Designers: Kathy Liang, Anna Chen
The title sequence is, essentially, a short film in itself, one that captures the essence of the show and illustrates its twists and turns against the London underworld backdrop. The animation, muted palette, art direction and music track are very memorable.
Directed by Oscar® nominated filmmaker Jed Rothstein (Killing In The Name, WeWork), the six-part series is produced by Oscar® and Emmy® winning production company, Rise Films in association with Universal International Studios, a division of Universal Studio Group, BuzzFeed Studios and Concordia Studio for Sky Documentaries.
Investigative reporter Heidi Blake receives a tip on the death of a multi-millionaire property tycoon, leading her to uncover a web of death that entangles Russian oligarchs,?10 Downing Street and Washington, D.C.?Set across Vladimir Putin’s two decades in power,?ONCE UPON A TIME IN LONDONGRAD?charts how the UK became reliant on Russian money and missed opportunities to contain the Kremlin.
The timely series explores fourteen mysterious deaths in the UK with alleged connections to Russia, delving into the hidden underworld of Russian exiles in London to link some of the most internationally significant cases in living memory — including the poisoning of Alexander Litvinenko, the suspicious death of oligarch Boris Berezovsky and the attempted assassination of former Russian spy Sergei Skripal.?ONCE UPON A TIME IN LONDONGRAD?is both a cautionary tale and an origins story of Russia’s?path to eventually invading Ukraine.
]]>Music: Samm Henshaw, The World Is Mine
]]>The film explores the fascinating and inspiring story of Kipchoge’s success, which captivated people around the globe, and was commissioned by Ridley Scott Creative Group, Amsterdam.
AKA Director Steve Small and his team of artists produced a 60-second title sequence as well as four sequences that illustrated the beneficial dynamics of track tilt and the effects of optimised airflow using running formations.
Client:
Ridley Scott Creative Group, Amsterdam
Director:
Jake Scott
Executive Producer:
Ridley Scott & Ross Plummer
Producer: Garfield Kempton
Design, Direction Animation and Artwork: Steve Small
Animation Producer: Nikki Kefford-White
CGI Character build & Rig: Adam O’Sullivan Avery
CGI Animator: Gary Cureton
Houdini, After-FX, Maya, and Compositing: Vincent Hussett
Watercolour and digital animation and Artworking: Martin Oliver
Animation: Kristian Andrews
Editor: Nic Gill
Head of CGI: James Galliard
Produced by Studio AKA
The Emmy nominated Main Title sequence for ‘Raised by Wolves’, a science fiction drama series created by Aaron Guzikowski. Director – and executive producer – Ridley Scott commissioned AKA to create the main titles for this 10-episode series for HBO Max, which centres on two androids tasked with raising human children on a mysterious virgin planet. As the burgeoning colony of humans threatens to be torn apart by religious differences, the androids learn that controlling the beliefs of humans is a treacherous and difficult task.
Working from the brief set by Ridley Scott, AKA director Steven Small designed intricately hand-rendered shots depicting the destruction of our planet and all remaining life departing to find refuge elsewhere in the solar system. Along with a team of animators, Small drew references from a wide array of source materials, using a combination of 3D, rotoscoping, and simple artwork to create these captivating sequences portraying chaos and destruction.
Dir Steve Small says of the project:
“It’s not every day you are invited to work on a project in a genre with the person who created some of the most resonant and powerful examples of the genre itself. Collaborating with Ridley Scott on the title sequence of ‘Raised By Wolves’ offered a rare glimpse into his creative process. He draws, storyboards, thinks like a painter and has an unsettlingly good eye. Aaron Guzikowski’s darkly compelling story contains a powerful pioneering spirit that carries humanity’s flawed past into a fragile dream of the future. We wanted to create something that felt both broken but hopeful to reflect these contrasting themes.”
Client: Scott Free Films & HBO Max
Executive Producers
Scott Free Productions,
Ridley Scott, Aaron Guzikowski, David W. Zucker. Jordan Sheehan, Adam Kolbrenner, and Mark Huffam
Producer
Teresa Kelly
Episode directors
Ridley Scott, Luke Scott, Sergio Mimica-Gezzan, Alex Gabassi
and James Hawes
Animation Production
Studio AKA
Main Titles Direction
Steve Small
Main Theme Composed by
Ben Frost
Performed by
Mariam Wallentin
I had the honor of contributing with the editing & animation of the title sequence. Additionally I developed the typography animation and some workflow tools.
Now available on Amazon Prime Video.
ZDF FreeTV Premiere on June 18th.
More about the project at linktr.ee/threeseconds
Film Production: Broadview Pictures
Client: Broadview Pictures
Agency: Feedmee Design GmbH
Creative Director: Gerry Menschik
Producer: Laura Giersdorf
Design: Catrin Mackowski
Editing & Animation: Thomas Gugel
find more info about the project here:
extraweg.com/severance
apple.co/3JNO1zJ
We had the honor to design the graphical package including the Main Title Sequence. The result is a tactile, pure and almost restrained look by capturing real live movements and transferring it on photographed letters to hold on to all details, cracks and scratches which bear the stamp of time.
More about the film: angelamerkel-film.com
Film Production: Broadview Pictures
Client: Broadview Pictures
Agency: Feedmee Design GmbH
Creative Director: Gerry Menschik
Producer: Laura Giersdorf
Design: Catrin Mackowski, Thomas Gugel
3D Artist: Thomas Gugel
Editing & Animation: Thomas Gugel
Main Title Sequence by 71PICTURES
Designed and Directed by Carlo Alleva
Lead Compositor and Animator: Carlo Alleva
Composite and Animation: Alessando Chiossi, Andra Battistoni
VFX Producer: Monica Galantucci ( Inlusion vfx )
Producer: Stefania Balduini, Maurizio Tini
Music and Sound design by Stefano Lentini
Soundtruck – It’s Not Impossible (Stefano Lentini & Charlie Winston) – THE RED DOOR Tv Series
Special Thanks to Inlusion vfx and Ash Thorp for inspiration.
]]>Late in the game, Lucky 8 asked Legion to create the show open graphics package. The team pitched a number of designs and styles of both treatments and logos. The company’s LA team designed and animated the open, and fine-tuned it based on the client’s editorial decisions.
Its Burbank and NY teams provided a full-service approach to producing the wide range of cost-effective, high-quality visual effect that the show demanded.
Produced by Lucky 8 out of New York, ‘The Food that Built America’ tell the stories of visionaries – such as Milton Hershey, John and Will Kellogg, Henry Heinz, C.W. Post, the McDonald brothers – who built the brands and invented the technology that revolutionized the food industry. The docudrama recounts these titans’ roles in the reshaping of the country’s culinary landscape at the turn of the century, using dramatic reenactments that replicate the look of the period with spot-on accuracy.
CREDITS:
Title: ‘The Food That Built America’
Type: VFX for Mini-Series/Docudrama
Airdates: August 11-13/History
Client: History Channel / NYC
Executive Producer: Jim Pasquarella
Executive Producer: Mary E. Donahue
Executive VP and Head of Programming: Eli Lehrer
Produced by: Lucky 8 / NYC
Director: Nick White
Executive Producers: Yoshi Stone, Greg Henry, Kim Woodard, Isaac Holub
Visual Effects by: VFX Legion / LA, B.C
Creative Director: James David Hatting
VFX Supervisor/Show Open: Matthew T. Lynn
On-Set VFX Supervisor/NY: Eric Pascarelli
3D Supervisor: Rommel S. Calderon
CG Dynamics: Eric Ebling
Compositing: Nick Guth
Compositing: Brad Moylan
Compositing: Eugen Olsen
Camera Tracking: Guy Delgado
Pipeline Tools: Brandon Rachal
Matte Painting: Marc Adamson
Matte Painting: Christian Haley
Matte Painting: Jim Hawkins
Matte Painting: Eric Mattson
Matte Painting: Yvonne Muinde
VFX Coordinator: Lexi Sloan
VFX Coordinator: Amanda VanDeCar
Bookkeeping: Michaela O’Brien
Studio’s directors Nicolas Ménard and Manshen Lo design hand-drawn 2D animated titles for streamer’s new dark, quirky stop-motion animated anthology.
Nexus directors Nicolas Ménard and Manshen Lo co-created a visual language with the hand-drawn 2D animated title sequence that both contrasts with, and encapsulates, the three distinct stop-frame worlds of the film. Viewers are taken on an eerie tour that sets the tone for the dark comedy that follows. Drawing inspiration from 19th century woodcuts as a starting point for their creative process, the pair committed to only showing the essential when creating these shape-shifting environments.
As the audience is transported up a living staircase and over a sinking checkerboard floor, tension, and anticipation, builds, elevated by the soundtrack of Oscar-winning composer, Gustavo Santaolalla. To further capture the mood the directors chose Fermín Guerrero’s “Brick” typeface, a design inspired by the signage of three prominent pubs in London’s East End. With Art Deco traits and a trace of Art Nouveau heritage, it fit the vignette aesthetic of black prints on black screen. Working with graphic designer Jolin Masson, the trio captured a balance between animation and typography.
“What struck us when watching the anthology was that although the house had similar features from chapter to chapter, it didn’t seem to have a specific layout,” shared Ménard and Lo. “It was shape shifting. This gave a rather eerie quality to the spaces featured in the films; one struggles to create a mental map of the place. So that felt like a great foundation for the theme of our intro sequence.”
The stop-motion anthology is directed Emma de Swaef and Marc Roles; Niki Lindroth von Bahr and Paloma Baeza; and produced by Nexus Studios.
]]>Creative Director: Lisa Bolan
Designers: Kaya Thomas, Carlo Sa
Animators: Evan Larimore, Yongsub Song, Evan Ausmus, Blaise Hossain, Christian Brown
Editor: Jessica Ledoux
Photography: Albert Corona
Color Manager: Andrew Young
Producer: James Howell
Co-Producers: Emily Stave, Kevin Daly, Megan Rodriguez,
Coordinator: Ben Rejzer
Deputy Head of Production: Zach Wakefield
Executive Producer: Luke Colson
Executive Producer/Head of Production: Kate Berry
Managing Director: Jennifer Sofio Hall
Produced at Huge Designs
Score by Hans Zimmer and Christian Lundberg
]]>The dawn breaks high behind the towering and serrated wall of the Cordillera, a clear-cut vision of dark peaks rearing their steep slopes on a lofty pedestal of forest rising from the very edge of the shore. Amongst them the white head of Higuerota rises majestically upon the blue. Bare clusters of enormous.
The wasting edge of the cloud-bank always strives for, but seldom wins, the middle of the gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly.
People think focus means saying yes to the thing you’ve got to focus on. But that’s not what it means at all. It means saying no to the hundred other good ideas that there are. You have to pick carefully.
Steve Jobs – Apple Worldwide Developers’ Conference, 1997
At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent.
The gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly into flame and crashes like a sinster pirate-ship of the air, hove-to above the horizon, engaging the sea.
Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent.
John Doe
At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent. Sky, land, and sea disappear together out of the world when the Placido—as the saying is—goes to sleep under its.
The Indian girls, with hair like flowing black manes, and dressed only in a shift and short petticoat, stared dully from under the square-cut fringes on their foreheads; the noisy frizzling of fat had stopped, the fumes floated upwards in sunshine, a strong smell of burnt onions hung in the drowsy heat, enveloping the house; and the eye lost itself in a vast flat expanse of grass to the west, as if the plain between the Sierra overtopping Sulaco and the coast range away there towards Esmeralda had been as big as half the world.
The Italian drivers saluted him from the foot-plate with raised hand, while the negro brakesmen sat carelessly on the brakes, looking straight forward, with the rims of their big hats flapping in the wind. In return Giorgio would give a slight sideways jerk of the head, without unfolding his arms.
]]>The dawn breaks high behind the towering and serrated wall of the Cordillera, a clear-cut vision of dark peaks rearing their steep slopes on a lofty pedestal of forest rising from the very edge of the shore. Amongst them the white head of Higuerota rises majestically upon the blue. Bare clusters of enormous.
The wasting edge of the cloud-bank always strives for, but seldom wins, the middle of the gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly.
People think focus means saying yes to the thing you’ve got to focus on. But that’s not what it means at all. It means saying no to the hundred other good ideas that there are. You have to pick carefully.
Steve Jobs – Apple Worldwide Developers’ Conference, 1997
At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent.
The gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly into flame and crashes like a sinster pirate-ship of the air, hove-to above the horizon, engaging the sea.
Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent.
John Doe
At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent. Sky, land, and sea disappear together out of the world when the Placido—as the saying is—goes to sleep under its.
The Indian girls, with hair like flowing black manes, and dressed only in a shift and short petticoat, stared dully from under the square-cut fringes on their foreheads; the noisy frizzling of fat had stopped, the fumes floated upwards in sunshine, a strong smell of burnt onions hung in the drowsy heat, enveloping the house; and the eye lost itself in a vast flat expanse of grass to the west, as if the plain between the Sierra overtopping Sulaco and the coast range away there towards Esmeralda had been as big as half the world.
The Italian drivers saluted him from the foot-plate with raised hand, while the negro brakesmen sat carelessly on the brakes, looking straight forward, with the rims of their big hats flapping in the wind. In return Giorgio would give a slight sideways jerk of the head, without unfolding his arms.
]]>The dawn breaks high behind the towering and serrated wall of the Cordillera, a clear-cut vision of dark peaks rearing their steep slopes on a lofty pedestal of forest rising from the very edge of the shore. Amongst them the white head of Higuerota rises majestically upon the blue. Bare clusters of enormous.
The wasting edge of the cloud-bank always strives for, but seldom wins, the middle of the gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly.
People think focus means saying yes to the thing you’ve got to focus on. But that’s not what it means at all. It means saying no to the hundred other good ideas that there are. You have to pick carefully.
Steve Jobs – Apple Worldwide Developers’ Conference, 1997
At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent.
The gulf. The sun—as the sailors say—is eating it up. Unless perchance a sombre thunder-head breaks away from the main body to career all over the gulf till it escapes into the offing beyond Azuera, where it bursts suddenly into flame and crashes like a sinster pirate-ship of the air, hove-to above the horizon, engaging the sea.
Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent.
John Doe
At night the body of clouds advancing higher up the sky smothers the whole quiet gulf below with an impenetrable darkness, in which the sound of the falling showers can be heard beginning and ceasing abruptly—now here, now there. Indeed, these cloudy nights are proverbial with the seamen along the whole west coast of a great continent. Sky, land, and sea disappear together out of the world when the Placido—as the saying is—goes to sleep under its.
The Indian girls, with hair like flowing black manes, and dressed only in a shift and short petticoat, stared dully from under the square-cut fringes on their foreheads; the noisy frizzling of fat had stopped, the fumes floated upwards in sunshine, a strong smell of burnt onions hung in the drowsy heat, enveloping the house; and the eye lost itself in a vast flat expanse of grass to the west, as if the plain between the Sierra overtopping Sulaco and the coast range away there towards Esmeralda had been as big as half the world.
The Italian drivers saluted him from the foot-plate with raised hand, while the negro brakesmen sat carelessly on the brakes, looking straight forward, with the rims of their big hats flapping in the wind. In return Giorgio would give a slight sideways jerk of the head, without unfolding his arms.
]]>The main title INTENTIONALLY reflects many of the techniques, aesthetics, and themes of Romare Bearden, and is a purposeful design for the opening credits of the series not meant to stand separately from its cinematic purpose.
Credits:
Client: EPIX & ABC Signature
Studio: Digital Kitchen | Los Angeles
Creative Director: Mason Nicoll
Art Director/Designer/Lead Animator: Peter Pak
Animators: Cisco Torres & Giovana Pham
Producer: Jake Hibler & Michael Cates
Executive Producer: Cynthia Biamon
Music: Swizz Beatz track “Just in Case,” featuring Rick Ross and DMX
VFX & Post Production
Design Studio: Elastic
Art Director: Jeff Han
Designers: Min Shi, Gryun Kim
CG lead: Yongsub Song
3D Animation & Compositing: Yongsub Song, Gryun Kim
Modeling: Mike Dupree
CG Artist: Miguel A Salek
Editor: Rachel Fowler
Producer: Lee Buckley, Annie Chen
Pitch Producer: Meredith Cherniack
Executive Producer: Luke Colson
Head of Production: Kate Berry
Managing Director: Jennifer Sofio Hall
CLIENTS: OREO & HBO
Justin Parnell, Senior Director, OREO
Kamila DeMaria, Brand Manager, OREO
Alex Diamond, Director, Program Marketing & Marketing Strategy
Krista Jackson, Manager, Program Marketing & Marketing Strategy
Paige Newman, Coordinator, Program Marketing & Marketing Strategy
AGENCY: 360i
Menno Kluin, Chief Creative Officer
Wei Wei Dong, Executive Creative Director
Piper Hickman, Executive Creative Director
Casey Espinoza, Associate Creative Director
Eleni Georgeou, Associate Creative Director
Alexis Budejen, Senior Art Director
Anna Wehr, Senior Copywriter
Jonas Wittenmark, Creative Director
Tobias Carlson, Creative Director
Brian Gartside, Associate Design Director
Carly Salaman, Executive Producer
Andrew Zinker, Director, Business Affairs
Marianne Pizzi, SVP Group Account Director
Gabe Gold, Group Account Director
Danielle Calogera, Group Account Director
Remy Raphael, Associate Account Director
Allison Guggenheimer, Account Supervisor
Kaitleen Lim, Account Manager
Meryl Swiatek, Strategy Director
Valentina Bettiol, Associate Director, Social Marketing
Trusha Bhatt, Strategist
Renee Schiavone, Associate Social Marketing Manager
Liz Malleus, Project Manager Director
____________________________________________________________________________
Post Production
Design Studio: Elastic
Creative Director: Andy Hall
Art Director: Kirk Shintani
3D Lead: Ian Ruhfass
2D Lead: Maciek Sokalski
Compositors: Daniel Raschko, Andrew Ashton
3D Artists: Aemilia Widodo, Ariana Ziae-Mohseni, Bryan Cox, Dustin Mellum, Evan Mayfield Jensen Abler, Joe Paniagua, Jose Limon, Mason Dash, Mike Dupree, Paulo deAlmada
Designer: Henry DeLeon
Design / Animation: Lucy Kim
Editor: Rachel Fowler
Producer: Michael Ross
Executive Producer: Luke Colson
Head of Production: Kate Berry
Managing Director: Jennifer Sofio Hall
Client: STARZ
Designed and Produced by Imaginary Forces
Director: Karin Fong
Lead Animator/ Designer: Jake Ferguson
Editor: Zach Kilroy
Animator/Compositor: Kiyoon Nam
Designers: Filipe Carvalho, Nathan Lee
Flame Artist: Rod Basham
Additional Visual Research: Wes Yang, David Orwasky
Producer: Maggie Robinson
Head of Production: Franceska Bucci
Executive Producer: Chris Hill
Senior Producer: Paul Makowski
Executive Producer: Luke Colson
Head of Production: Kate Berry
Managing Directors: Linda Carlson & Jennifer Sofio Hall
Head of CG: Kirk Shintani
Modeler: Michael Cardenas, Paulo de Almada
Texturing: Aemilia Widodo, Josephine Kahn
Dynamics: Phiphat Pinyosophon
Stock Research: Deb Ricketts
Producer: Paul Makowski
Head of Production: Kate Berry
Executive Producer: Luke Colson
Managing Directors: Linda Carlson & Jennifer Sofio Hall
For JK Simmons, It’s just another day at the office…
Client: STARZ
Designed and Produced by Imaginary Forces
Director: Karin Fong
Lead Animator/ Designer: Jake Ferguson
Editor: Zach Kilroy
Animator/Compositor: Kiyoon Nam
Designers: Filipe Carvalho, Nathan Lee
Flame Artist: Rod Basham
Additional Visual Research: Wes Yang, David Orwasky
Producer: Maggie Robinson
Head of Production: Franceska Bucci
Executive Producer: Chris Hill
Produced by: Elastic
Creative Director: Patrick Clair
Lead Artist: Raoul Marks
Design: Patrick Clair, Paul Kim, Kevin Heo
2D Animation: Jip Jeong
Flame Artists: Andy McKenna, Andy Bate, Steve Wolff
Online Editor: Dan Ellis, Kevin Stokes
Flame Assist: Gabe Sanchez
Producer: Meredith Cherniack
Executive Producer: Jennifer Sofio Hall
Official Opening Titles for Offf Festival 2017, and an hommage to Oscar-winning 1982 film “Tango” by Zbigniew Rybszynski.
CREDITS
Directed by : Julien Vallée & Eve Duhamel
Produced by : Sailor Productions
Cinematographer : John Londono
Choreographer : Isabelle Boulanger
Music by : Pressure by Milk & Bone
Post-Production : Mels
Casting :
Girl waking up : Wensi Yan
Guy jumping : Daniel Alwell
Girl reading a book : Lydia Weber
Girl with the ball : Kimberly Bittner quinn
Giant girl : Amanda Van Der Siebes
Dancer girl : Brontë Poiré-Prest
Giant guy : Theodore Pellerin
Girl in the window : Solène Buxo-Marti
Makeup and hair artist : Maïna Militza
Makeup and hair assistant : Josianne Morin & Josianne Cournoyer
Stylist : Tinashe Musara
Clothes are courtesy of :
Laugh by Lafaille
COS
H&M studio
Paulina Wonder
Sachika
Camera
1st camera assistant : Kevin Corvellec
DIT / Video Assist : Daniel Lacasse
Electric
gaffer : Jackson Girard
Best Boy Electrician : Julie Martel
Electrician : Alexandre de Ernsted
]]> Music by: Brian Rietzell
Sound Design: Echolab
Special Thanks to Bryan Fuller, Michael Green, David Slade, Dauri Chase, Brian Reitzell, Starz, FremantleMedia, and Neil Gaiman for their wealth of support, inspiration and ideas.
]]>This was a powerful and small team. Forever and always… #spiritbull
VFX & Design: The Mill
Executive Producer: Luke Colson
Head of Production: Elizabeth Newman
Producer: Sumer Zuberi
Production Coordinator: Anica Douglass
Creative Director: Clarice Chin
Art Director: Helen Hsu
Animation Lead: Justin Demetrician
Animation: Tim Devlin, Viraj Ajmeri
Design: Alan Chen, Amy Graham, Helen Hsu
Design Director: Nic Benns
Art Director: Miki Kato
Researcher: Richard Kroll
Research: Fred Thoraval, Pierre Morel
Titles animation:
Miles Christensen, Nic Benns,
Miki Kato, Natasha Mallinder
Andy Yap
UI, Screen Graphic animations:
Ian Jones, Miki Kato
Producer: Nic Benns
Film producers: Peter McAleese, Joel Silver
Film Director: Pierre Morel
Made by Momoco
Client: StudioCanal
Archive version 2016
This year’s theme, to “DREAM BIG” led us to create a surreal and intriguing journey—beginning with gentle camera moves which reveal a bizzare and mysterious world, slowly discovering a sleeping girl who dreams of creativity and ideas, which we visualized by projecting glimpses of each artist’s work on to her face.
We used an ultra-high-res face scan of a model, created by Daniel Hennies, which is only illuminated by those projected sequences on its various surfaces. Each shot was precisely crafted to progress outwards from a macro-level of detail, and continuously reveal more and more of the subject.
Direction, Animation & Comp:
Robert Hranitzky – http://www.hranitzky.com
3D Lead, Photogrammetry:
Daniel Hennies – http://www.uglykids.org
Editing:
Michael Münch – http://www.muenchfilms.com
Music :
Andi Thoma
Michael Fakesch – http://www.michaelfakesch.com
Digital Sculpting:
Phil Amelung
Model:
Felicitas Molnar
Special Thanks:
Todd Prives, Max Iglesias, Can Amirak, Maxl Gründl, Scanwerk
Cloudrendering kindly provided by:
Zync – http://www.zyncrender.com
Shine designed, edited and animated the main and main-on-end title sequences for The Magnificent Seven. The sequence visually establishes the world of the Seven, and re-introduces each character. The imagery of land ownership and property deeds is a visual story thread woven throughout the sequence.
Director Antoine Fuqua brought his modern vision to the classic story of The Magnificent Seven. As the town Rose Creek is put
under the siege of industrialist Bartholomew Bogue, the town’s residents enlist the help of seven outlaws, headed by bounty hunter Sam Chisolm, to protect them while they prepare for the violent confrontation that is anticipated. Upon meeting the town’s residents, the Seven find themselves fighting for much more than money.
We set out to capture a detailed and beautiful view of the process of making sugar. During harvest cane fields are burned to remove leaves and other unusable parts of the plant and microorganisms. Stalks are cut and crushed and the juice is extracted, boiled and crystallized. The mixture is run through a centrifuge, sifted and dried and the charred leaves make the soil more fertile for new growth.
To create this imagery we shot macro high-speed details of this process to simulate the journey from cane to sugar. We snapped sugarcane stalks in front of the lens, burned the cane, leaves and melted a variety of sugar crystals with blow torches and water. We played the footage in reverse to simulate crystal formation. For the centrifuge process, we shot high speed footage of churning sugar under a macro lens and let the syrup separate from the crystals into sinuous trails.
To further stylize the imagery we mirrored, repeated and formed the sugar footage into symmetrical compositions to suggest jewel-like forms. The resulting editorial sequence is a combination of this abstracted process of making sugar coupled with iconic imagery of the cast and locations from the show.
]]>DarkMatter was approached to create the titles for the beginning of the movie to help tell the story based on an investigative reporter that works to solve the mystery of a haunted house constructed from the rooms of the deceased.
]]>Each of the ten episodes features a different short, playfully abstract animated title sequence, created by designer Teddy Blanks, co-founder of Brooklyn’s CHIPS Design Studio.
“The idea I pitched was to make colorful animations inspired by abstract geometrical classical album covers from the ’40s and ’50s, particularly those designed by Alex Steinweiss,”
CHIPS is a studio for design and development founded by partners Dan Shields, Teddy Blanks, and Adam Squires.
]]>Their solution allowed us to both connect visually to the film without feeling like just another scene in the movie and depict the macro and micro worlds in the same visual language.
Director, creative director and designer Erin Sarofsky launched Sarofsky Corp. in Chicago in 2009 to provide her patent, design-driven production services to leaders in the advertising and entertainment industries worldwide. Today, Sarofsky’s staff artists use animation, visual effects, computer graphics and live-action to collaborate with illustrious clientele from concept to delivery, producing work that is visceral, innovative and diverse. With artistry that heightens audience impact through sublime commercials, brand films, title sequences and much more, Sarofsky’s reputation for breakthrough design, its proven cross-media production expertise, and its fabulous Olson Kundig-designed studio in Chicago’s West Loop are all key components of the attraction. Sarofsky is proud to be a WBENC-certified woman owned company.
]]>The work kicked off in May, after the sequence director Daniel Kleinman received the call-up from Bond producers Michael G. Wilson and Barbara Broccoli. Once the script had been read, Kleinman met with Framestore to start concepting visual ideas – the start of an organic, evolutionary process. With six Bond sequences already under his belt, Kleinman knew exactly how to approach the work: ‘I don’t have any preconceived ideas, anything stored up or saved up from other things when I come to the job – it’s important that the ideas and visuals are narratively driven. In most Bond films there’s a theme that runs throughout. That will be the thing that I take and run with, try to find the visual metaphors, and have some fun with the idea of it’.
]]>Creative Director: Alan Williams
Executive Producer: Sarah Roebuck
Producer: Kacie Barton
Designer: Max Strizich
Animator: Max Strizich, Danny Kamhaji, Jae Woo Park
Compositor: Danny Kamhaji
Editor: Zach Kilroy
Coordinator: Tess Sitzmann
Founded in 1996, Imaginary Forces is a creative studio and full service production company specializing in creating and developing content for commercial advertising, digital and interactive platforms, feature films and film marketing, television, architectural spaces and global brands. Imaginary Forces is comprised of over 70 artists and creative professionals: directors, designers, writers, animators, editors, and producers. We have studios in both Los Angeles and New York City.
]]>Huge Designs are comprised of four designers, Hugo Moss, Paul McDonnell, Ben Hanbury and Tamsin McGee. All with their own specialities and talents (some of which relate to design).
The company was formed in 1993 and have been mastering the dark arts of title design ever since.
]]>Actors were shot in ultra slow motion before adding depth with dust particles and scratched glass. The team then used projection mapping to display medieval imagery onto invisible 3D models.
The title score is composed and performed by DAVID BOWIE – his first original music for television in 20 years.
Designed & Directed by Miki Kato
Produced by Momoco
Music by David Bowie
Creative Director Nic Benns
Concept by Johan Renck
Animators: Andrea Braga, Miki Kato, Nic Benns,
Svenja Frahm, Jim Fisher, Miles Christensen, Maria Arnal
DoP: Karl Watkins
Client: Warp Films, Haut et Court
MOMOCO is an EMMY winning and BAFTA nominated studio.
Founded by Nic Benns and Miki Kato, the firm has been producing film and tv main titles for 15 years and has gained international recognition for its sequences.
momoco.co.uk
IMDB:
imdb.com/company/co0499006
Behind the scenes:
facebook.com/MOMOCO.FILM.TITLES
Inspired by iconography of 1970s album covers and a unique logomark by the studio Small Stuff, our title design is built around archive photography and presented chronologically: from the early years of the Staple Singers, into the Stax Record era, and beyond. We also collaborated on a series of motion graphics sequences throughout the film, enhancing already electrifying stories of music and activism from the likes of Bob Dylan, Bonnie Raitt, and Chuck D, with retro visuals capturing the spirit of an era and a movement.
]]>With a team of designers, directors, and producers dedicated to forming and refining the culture of communication, Bigstar forges visual content for the advertising, film, broadcast, and music video industries.
]]>IAMSTATIC directs, designs and produces award winning projects for commercial advertising, film and television, digital, print / graphic design and VFX.
]]>The vibrancy of the colors used were reflective of the lavish excesses of the time and the natural beauty of Colombia.
Main Titles Design: Digital Kitchen Los Angeles / DK Studios
Client: Gaumont International / Netflix
Creative Director: Tom O’Neill
Lead Animator/Compositor: David Badounts
CG/Design Lead: Joshua Smith
Editor: Nik Kleverov
Producer: Paul Makowski
Live Action Producer: Chad Stanley
Executive Producer: Cynthia Biamon
Executive Producer: Erica Coates
Narcos stars acclaimed Brazilian actor Wagner Moura (Elite Squad) as a captivating Pablo Escobar alongside Boyd Holbrook (Gone Girl) and Pedro Pascal (Game of Thrones) as real-life DEA agents Steve Murphy and Javier Peña. The series also features powerful performances by Colombia’s Juan Pablo Raba (El corazón del océano), British theater star Joanna Christie (Once), Mexican sensation Stephanie Sigman (also seen later this year in the next Bond installment, Spectre), Colombian actor Manolo Cardona (Covert
Affairs), Brazil’s renowned André Mattos (Elite Squad), beloved Puerto Rican actor Luis Guzman (Boogie Nights) and the stunning Ana de la Reguera (Eastbound & Down) from Mexico.
José Padilha (Elite Squad) serves as executive producer along with Eric Newman (Children of Men), and the team of creators Chris Brancato (Hannibal) and Carlo Bernard & Doug Miro (Sorcerer’s Apprentice). Narcos is produced by Gaumont International Television for Netflix.
]]>Director: Liam Oconnor / Mina Song
Client: Mahalyoon (Mahmoud Sabbagh)
Studio: Picnic Studio
Credits
Producer: Lundi Shackleton [Les Espoirs]
Art Direction / Design: Mina Song
Composite: Chris Sayer / Mina Song
Animation: Aleksander Saharovsky / Chris Sayer
Cel Animation: Aleksander Saharovsky
3D: Mina Song / Chris Sayer
Music: RJD2 (Guide track)
In 2012 we worked on vfx for the Oscar awarded film „Ida” directed by Pawel Pawlikowski.
They’ve been awarded at 2014’s Bass Awards, an international competition that selects the best achievements in design for film and TV.
Creative Director: Patrick Clair
Lead Animation and Compositing: Raoul Marks
Animation and Compositing: David Do
Design: Patrick Clair, Paul Kim, Kevin Heo, Jeff Han
Associate Producer: Danny Hirsch
Producer: Carol Collins
Executive Producer: Jennifer Sofio Hall
Elastic is a full-service design studio launched in Santa Monica in 2008 by the founders of editorial company Rock Paper Scissors and visual effects boutique a52. Elastic is home to a diverse collection of artists that tell stories in a variety of mediums including motion graphics, animation, live action and CG.
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