We got the oppurtunity to work on this remarkable remake of Robocop with one of my favourite directors José Padilha ( “”Elite Squad”“) and one of my favourite editors Daniel Rezende (City of God). As expected; there are ton of well thought details and differences in the story. One of them is the way of storytelling throughout the Robocop’s point of view graphics. Around 70 shots; some of them literally have no dialogues. This is the part that, we were responsible for (and additional 40 GFX shots, with displays etc…)
Design was a huge part of story telling. They needed to be clean, understandable, simplistic, convincing, sleek. Appeal was important but secondary. He really didn’t want busy stuff in terms of graphics.
So we focused on telling the story, devilering the message, in a short amount of time such as, showing that Robocop can access to Live CCTV cameras all around Detroit, he can simulate environmental information, calculating his tactics and next possible move, checking vitals, emotions, and more. Story takes time in the near future, and José was always pushing things for convincing and believable results. We made a deep research about past, current and future interface design and military equipment.
We were highly influenced by existing applications.
Robocop has this robot side as well as human side. So we tried to make his interface like a fully functioning operating system. In terms of behavior and motion we tried to give the feeling that he is in control, and he is actually operating things on his POV. In terms of look, we didn’t want to go all futuristic and military not to step away from sense of human touch. Because this is not a suit, he is using this interface to interact anytime. This really embraced the emotional and informative moments besides action sequences. This is another reason that Robocop’s POV graphics are looking much more human and sophisticated compared to ED-209s and EM-208s POV.
The basic idea was imagining all the tools and gadgets are surrounding his head. If he wants to activate something it usually comes from sides. He can hide stuff to sides, bottom, top, and bring them in again. Or he can combine any of those with each other. This also helped us to guide viewers eyes to specific elements of story, by focusing on certain items, without loosing everything completely. We tried to show one action at a time, so it’s possible to track his actions and decisions.
We also wanted to keep things as a well thought branding. United and consistent look and feel was important to us. We even hinted Omnicorp’s hectagon shape for certain elements. Not literal but subtle.
We examined the whole story, and we decided to create certain gadgets that Robocop can use, instead of introducing something new everytime. In this way it would be much easier to tell the story to viewers, instead of forcing them to understand what’s going on with the graphics.
So for CCTV database we have a certain layout, whenever he is accessing to database. There’s another layout which presents Live CCTV, simply a vertical strip. Even in real life, with some of the significant interfaces we are used to collect things on the bottom, and see the live streaming on the side. This helps to viewers to recall things easier.
At the end, Robocop was a great journey with extraordinary vision, with a super great team and people, with a lot good experience and great moments.
Client/Director: MGM / José Padilha
Design Supervisor, Creative Director: Garson Yu
Lead Designer/Art Director: Mert Kizilay
Lead Designers/Animators: Johnny Wong, Navarro Parker
Designers: Synderela Peng, Etsuko Uji, Ryan Kravetz, Jonathan Ficcadenti
3D Compositing Supervisor: Stevan Del George
Animators: Alex Yoon, Daniel Onassis, Eric Stoiqa
Researcher/Consultant: Refik Anadol
Compositors: Stephen Mitchell, Devin Uzan, Isa Alsup, Tara Turner, Ian Blewitt Joel Ashman
VFX Editor: Chad Sigston
Executive Producer: Carol Wong
VFX Producers: Carey Keeney, Sarah Coatts
VFX Coordinator: Evan Jackson
Compositing Coordinator: Julie Brown
Music for Montage: Two Fingers - Sweden
The mighty Joseph Kosinski invited Munkowitz to the GFX party once again, this time for his spring blockbuster feature film OBLIVION™… Predictably, the list of graphic assets to be created was obscene, so munko assembled and led another super team of GFX mercenaries and descended into the lovely confines of Crater Lake Productions to generate the aforementioned fuckload of graphic content… Working with Joseph always brings out the best in Munk and Company, and this time around was certainly no exception… OBLIVION © Universal Pictures, Inc. All Rights Reserved.
A more thorough GFX Breakdown at: work.gmunk.com/OBLIVION-GFX
The briefing for the Graphic Language stressed functionality and minimalism while utilizing a bright, unified color palette that would appear equally well on both a dark or bright backdrop… The function was to reflect the modernized sensibilities of the TET Mainframe computer and would assist the characters with the key components of their duties on earth; be it the monitoring of all Vitals on the ground using Vika’s Light Table, or the various diagnostics in the air using the Jack’s Bubbleship… For good measure, the team also designed and animated all of the HUD UI for the various machines and weaponry in the film cuz they could, establishing a consistent graphic language that rendered all the interfaces with a loverly cohesion rarely seen in them massive-budget Sci-Fi productions…
OBLIVION LIGHT TABLE UI
One of the most widely seen Graphic elements was Vika’s Light Table, which allowed her to guide Jack Harper through his tasks as a Drone repair man in the field of duty… The table itself was built practically, so most of the visuals were captured in-camera, lending a beautiful optical touch to the design ( thx Joe & Claudio )… The table consisted of four screens: A main map that Vika used to monitor the Bubbleship, Drone, and Scav positioning, a Drone Monitor which tracked all their key vitals and fuel status, A Hydro Rig monitor that displayed the collection progress for the large resource gatherers over the ocean, and finally a Weather Screen which showed the Tet’s online status and also key vitals of the ever-changing weather systems… A couple extra tasks had the team designing another Map Diagnostic screen on a milky-white breakfast table top and a few key standalone windows that were analyzing Rogue Signal feeds that were key story points in the film…
OBLIVION BUBBLESHIP UI
Jack’s helicopter, a remarkable Daniel Simon creation called the Bubbleship, was Jack’s paramount vehicle in the film… The UI appeared as a hologram embedded within the spherical glass cockpit, done to perfection by the lovely folks at Pixomondo, and functioned to assist Jack in his flight and combat duties throughout the film… The team researched a grip of Flight simulator and Helicopter Combat interfaces and sought to modernize the aesthetic while still delivering key functionality that would mimic real-world flight tools… And of course the team didn’t want to fuck up Simon’s baby with ugly UI, the German wrath was implanted deep within and ultimately, the Bubbleship UI was by far the most researched and pampered graphic task…
OBLIVION HUD GFX
The team also designed all of the Machinery HUDs and various Gauges in the film, be it the Drone Machine Vision, Jack’s Gun HUD, all the Scav equipment and some of Jack’s smaller vehicles… The interfaces again stressed functionality over excess, keeping the Greeble under control and communicating key story points throughout the film.. All of these graphic elements were ingested by the VFX Vendors and ultimately integrated seamlessly into the live-action plates; many thanks mighty peoples…
OBLVN Light Table UI Credit list
Production Facility: Crater Lake Productions
Oblivion Director: Joseph Kosinski
Oblivion Producer: Steve Gaubs
Oblivion Assistant Producer: David Feinblserbr
Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Bradley G Munkowitz, Jake Sargeant
Graphic Designers: Joseph Chanimal, Alexander Perry
Lead Graphics Animators: David Lewandowski, Joseph Chanimal
Graphics Animator: Alexander Perry
OBLVN Bubbleship UI Credit list
Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Bradley G Munkowitz, Joseph Chanimal
Lead Graphics Animator: Navarro Parker
Graphics Animator: Joseph Chanimal
OBLVN HUD GFX Credit list
Graphics Design Director: Bradley G Munkowitz
Lead Graphic Designers: Joseph Chanimal, Bradley G Munkowitz
Graphic Designer: Alexander Perry
Lead Graphics Animators: Navarro Parker, Alexander Perry
Graphics Animator: Joseph Chanimal
OBLVN Process Montage Credit list
Production Facility: Autofuss
Design Director: Bradley G Munkowitz
Lead Editor: Ian Colon
Director of Photography: Ian Colon
Director : Laurent Nivalle
DOP: Julien Roux
Production: LE RENDEZ-VOUS A PARIS
Producers: Guillemette Brisson & Cristina Alonso
Production Manager: Frédéric Benoit
1st director assistant : Jean-Luc Gargadennec
1st DOP assistant : Matthieu AGIUS & Sophie Ardisson
Administration production : Marie Depondt
Production assistant : Laura Des Aulnois
Post production: Olivier Dechartres (Nightshift)
SFX Producer: Fanfan Cohen (MacGuff)
Editing: Laurent Nivalle
Calibration/grade: Bruno Maillard
Flame Artist: Bruno Maillard
Models: Marine @ Ford Models & Alexandre Nguyen @ Sport Models
Horse trainer : Jean-françois Pignon
Assistant trainer : Samuel Afrad
Making of: Jean-Michel Brisson
Manager: Serge Desfilles
Manager assistant: Edouard Sueur
Drone 1 : Charel Fabryc & Mathieu Mougel
Drone 2 : Antoine Vidaling & Alexandre Labesse
Key grip: Erwan Becquelin
Machinist: Axel Auger
Electrician: Renaud Garnier
Concept car technicians: Patrick Arnaud & Pascal Barthod
Heavy driver weight: Laurent Troche
Thank you to :
Stéphanie Duhar from the Chai du Chäteau Cheval Blanc
La région de la Lozère
Le Mans Classic 2012 _ Personnal work
I don’t know why but there is a decay between pictures and sound. Check out the movie in youtube to see the good movie
© Laurent Nivalle
Music : Gangsta Symphony by Philip Guyler
This is my entry for the animation sequence project!
The references are the Durand Durand’s music sheet from Barbarella
and the incredible six books of Euclid by sir Oliver Byrne.
The audio is recorded directly from a YAMAHA PSS-50, my first lovely keyboard.
Softwares used Ae - Au
A video for Dutch from the latest album from Gotswim, Imaginary Scape. It’s been a long journey and the way I work now would definitely laugh on the face of my workflow from when I started the video. The project included animation (2d and 3d - more 2d than you’re probably thinking), illustration and coding (python and processing). I really hope you enjoy it!
A film about design. If for one day you had the power to make your world work better, what would you change?
Shape is part of a project to get young people thinking about how the world is made around them, and where design fits in.
This film and the accompanying website was commissioned by Pivot Dublin and Dublin City Council to promote wider acceptance and use of design as a tool for positive change.
Presented by Pivot Dublin and Dublin City Council
Directed & Designed by Johnny Kelly
Written by Scott Burnett
Produced by Ali Grehan
Production company: Nexus
Nexus Producer: Isobel Conroy
Animators: Felix Massie, Joe Sparrow, Alex Grigg and Johnny Kelly
GIF wrangling: Alasdair Brotherston
Editor: Steven McInerney
Thanks to Mark Davies, Sergei Shabarov and Chris O’Reilly
Special thanks to Cllr Naoise O’Muiri and Dublin City Manager Owen Keegan for their support
Music & Sound Design: Antfood
Andrew Rehrig - Flutes
Will Bone- Trombone, Trumpets, Tuba, Baritone Sax, Tenor Sax I, Clarinets
Jesse Scheinin - Tenor Sax II
Wilson Brown - Pianos, Guitars, Synths, Percussion
Chris Marion - Strings
Composition and Arrangement: Wilson Brown
Sound design: Spencer Casey, Charlie Van Kirk, Wilson Brown and Pran Bandi
Final Mix: Andy Baldwin
*BONUS* GIF fun: makeshapechange.tumblr.com
A Film by Daniel Savage
Produced by Something Savage Inc.
Written, Directed & Animated
Additional 2D FX
Digital Ink & Paint
Audio Post services by
Sound Designer and Re-recording Mixer
Brendan J. Hogan
Macedonia Radio Symphonic Orchestra
Aude Nassieu Maupas, Boban Apostolov, Georgii Hristovski
Mom and the former Savages
A sample of scenes from 12 minutes of cutscenes for Pigsy’s Perfect 10, the premium DLC for the game ENSLAVED™: Odyssey to the West™.
All animation and production by Axis, Directed by Gareth, John and Andy, Produced by Debbie Ross.
© 2010 NAMCO BANDAI Games America Inc. © 2010 Ninja Theory
Axis are delighted to represent Ben Hibon for video game projects. Ben directed this critically acclaimed animated segment of Harry Potter and the Deathly Hallows.
Client: Warner Bros. Pictures
Director: Ben Hibon
Producer: David Heyman, David Barron, J.K. Rowling
VFX Producer: Emma Norton
VFX Company: Framestore
Added a touch more filmgran look using FilmConvert. 10% off with code bloom or by clicking here: gopb.co/filmconvert
Mini doc about Felle Vega. A man with a love of music, percussion and life.
Filmed in the Dominican Republic
Shot on the 5DmkIII with the 1DX for wides. Lenses 24-105 f4 Canon 16-35 F2.8
Natural light with a small amount of bounce.
Graded in Magic Bullet Colorista II 20% off with code bloom20 at checkout redgiantsoftware.com
All sound recorded on a Roland R26. Reference and sometimes main use : Rode Video Mic pro. NTG 2 for instruments. Interview Sanken cos 11.
Blog post about shoot here: philipbloom.net/2012/12/03/fellevega/