OBLIVION end credit sequence from Danny Yount on Vimeo.
Produced at Prologue Films 2013
Ampersand is a visual collective interpretation of creativity process - vitally growing and evolving crystals represent bursting ideas, the engine of all arts. To achieve growing crystals look visual artist Susi Sie used sodium acetate, also known as “hot ice”. Short film is a combination of live shot crystals and 3D.
Ampersand starts section of Books & Arts of 99 year old “The New Republic” magazine (NY, USA).
Credits:
Client: The New Republic
Directed & Produced: Korb & Susi Sie
DOP: Susi Sie
Compositing & 3D: Karolina Sereikatė
Music & Sound Design: Andrea Damiano
Producer: Lina Paškevičiūtė
Year of completion: 2013
Ira Glass on Storytelling from All1Soul on Vimeo.
Ira Glass of ‘This American Life’ describes what makes for good storytelling.
Ping is a garment that connects to your Facebook account wirelessly and from anywhere. It allows you to stay connected to your friends and groups of friends simply by performing natural gestures that are built into the mechanics of the garments we wear. Lift up a hood, tie a bow, zip, button, and simply move, bend and swing to ping your friends naturally and automatically. No phone, no laptop, no hardware. Simply go about your day, look good and stay connected.
Ping exists as a fully functional prototype and this project is a narrative video collaboration between Electric Foxy, and Dos Rios.
Credits
Director, Concept/Script, Interaction design, Producer, Art Director, Graphics, Editor: Jennifer Darmour
Director of Photography, Producer, Graphics & Animation, Editor: Issara WillenskomerMusic: Music written, recorded, and produced by James Key
cargocollective.com/jameskeyAARON GAPONOFF
Animation and CompositingPRODUCTION NOTES
We shot this project on a Canon 7D with the L-Series 35mm 1.4 lens at 60fps. We used Mocha to track the shots, and brought the data into After Effects where we set up 3D particle systems and linked the camera and lights to the Mocha data. All the graphics use Trapcode Particular to generate the systems from custom particles, and we used Yanobox Nodes to complete the hero data graphics. -Issara
FOX MLB Kinetic Theory pitch from GMUNK on Vimeo.
INFO
While freelancing at SF’s finest Autofuss, Munkowitz conceived and directed this pitch for the mighty Fox Sports MLB package. The concept, dubbed Kinetic Theory, explores the motion and dynamics of baseball, using imagery inspired by Time Manipulation, the Science of Optics, and Data Imaging Techniques including Projections and Prismatic Aberrations. The execution was a blend of these imaging techniques while being supplemented by delicate, modern design elements…
B-ROLL STYLEFRAMES
Info: Perhaps the most important aspect of the package was the B-Roll delivered to FOX Sports to allow them to make promotional edits on their own within their usual small production timeframes.. The plan was to have Autofuss prepare an easily executable toolkit that could simulate the visual of baseball footage being projected onto surfaces that exist in the baseball family, ie leathers, woods, concrete, and a few organic screen textures… The execution of the technique would be split between the two studios, where Autofuss would do the specialized hero shots and FOX would produce their own sets using supplied textures and simple 3d camera pitches with simulated lens optics…
MOTION RESEARCH
Info: To make things even more delicious, the team provided an edit of all the motion research they conducted during the pitch timeframe, utilizing the in-house Phantom Miro for high-speed shots and also including a series of projection and refraction techniques.. The ultra-talented Devon Whetstone and Ian Colon were a dream to collaborate with for the live-action assets and certainly provided Munko with an optimistic glimmer for future collaborations…
FOX MLB Credit List:
Production Company: Autofuss
Executive Creative Director: Randall Stowell
Executive Producer: Julia Gottlieb
Head of Production: Micah Gendron
Pitch Concept: Bradley G Munkowitz
Design Director: Bradley G Munkowitz
Lead Designer: Bradley G Munkowitz
Editor: Ian Colon
Director of Photography: Devon Whetstone
Additional Photography: Ian Colon, Danny Koenig
Cinema 4D Quick Tip: Joining splines from Toros Köse on Vimeo.
A quick technique I learned recently on how to join seperate splines into one. Very ‘know-which-button-to-push’ but might be useful none the less!
XOXO
Toros
The Vein / Magma from Dvein on Vimeo.
‘Magma’ is the very first Dvein’s music video for The Vein’s new single.
Direction & Art Direction: Dvein
Client: AdobePost-production & VFX: Dvein
ZBrush Artist: Luis Gómez GuzmánLive Action Crew
D.O.P.: Alejandro Oset
Production assistant: Anna Carretero
Camera operator: Toni Rodríguez
Grip: David Felices
Make-up Artist: Salònica Rodríguez
Actors: Ramón Pin, Antonio IzquierdoSound mixing & mastering: Gerardo Vicente Martínez
Microphone recording: Alex Félez (Heptagon)Special thanks to Pamplona89, Anders Hattne, Agosto & Sergi Roda.
Killzone 3 credits revisited from Joost Korngold on Vimeo.
Creating a post apocalyptic world with provided 3d assets for Killzone 3 ending credits.
This version differs slightly from the original in edit and music.Music “Der Process” Omega Code omegacode.net, edited by Marcelo Baldin combustion.ws
LIFE from Sebas and Clim on Vimeo.
We launched Life to celebrate our first studio anniversary. Something to have fun with and to explore a new style in design, edition and animation.
Idea, Direction & Production: Sebas and Clim
Music: Aimar Molero
Wired Fest - Speakers Bump from Cake on Vimeo.
Client: Wired
Directed by Cake
Illustration: ilovedust & Cake
Animation: David Pocull, Thiago Maia & Anton Bohlin
Music and sound design – Echoic Audio
Channel 5 / 5 Star “Magnet” Ident from Fernando Lazzari on Vimeo.
The nice chaps at Channel 5 Creative invited me to participate in 5 Star’s rebrand. We spent some time working together on a series of idents and I had the pleasure to develop this one.
Design + Animation: Fernando Lazzari
Channel 5 Creative: Shirley Sarker / Alessia Alciator / James Wignall
How To Destroy Angels_ - On The Wing [concept] from rob milus on Vimeo.
In a world where the mindless herd graze upon the crops of technology, liberation reveals itself in an unfamiliar place.
_- This is a fan video, I do not own the audio content
_- Buy their new record, “Welcome Oblivion” here —- store.destroyangels.com/_- Follow me on twitter here —- twitter.com/robot_32
_- Watch my previous take on ‘Keep It Together’ —- vimeo.com/55409830
OBLIVION GFX Montage from GMUNK on Vimeo.
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.
GFX METHODOLOGY
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 FeinblserbrGraphics 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 PerryOBLVN 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 ChanimalOBLVN 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 ChanimalOBLVN Process Montage Credit list
Production Facility: Autofuss
Design Director: Bradley G Munkowitz
Lead Editor: Ian Colon
Director of Photography: Ian Colon
