Toros Kose

I'm Toros Kose, 24 year old graduated Motion Graphics student from Hyper Island.
Previously a motion designer at Tronic Studio NY, as well as SEHSUCHT, Hamburg, I'm currently based in New York with the wonderful team at Superfad.

Here is my site + showreel: www.toroskose.com

On this blog I will post self created content like photos and videos, and things that inspire me.

Peace.

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: Adobe

Post-production & VFX: Dvein
ZBrush Artist: Luis Gómez Guzmán

Live 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 Izquierdo

Sound mixing & mastering: Gerardo Vicente Martínez
Microphone recording: Alex Félez (Heptagon)

Special thanks to Pamplona89, Anders Hattne, Agosto & Sergi Roda.

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

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

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 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

How To Destroy Angels_ “Keep It Together” from rob milus on Vimeo.

The subject plots out self destruction as a means to try to reconnect with reality. In a struggle between trying to acknowledge what is real, and what is just a voice in your head, who really has control?

_- This is a fan video, Rate and Share please!
_- I do NOT take credit for the awesome music this video.

_- Listen to the full EP and more, here —- soundcloud.com/howtodestroyangels
_- Buy their new EP, “An Omen” here —- store.destroyangels.com/

_- Follow me on twitter here —- twitter.com/robot_32
_- Follow my friend John here —- twitter.com/jsdykstra
_- ^ he was a huge help ^

NICK IDs from Plenty on Vimeo.

After winning the pitch (together with FunJob) for the creation of the new idents for NICK, we jumped into an ambitious project by proposing an idea based on a mix of techniques to obtain a different result. That’s how we set out to create each ident by using the frame-by-frame animation technique first and then modelling each of them in 3D. This gave the idents a handmade appearance and allowed us to win absolute freedom in the transitions. All of this was based on an extremely minimalistic art direction and a set of great characters designed by FunJob, and received the finishing touch with the spectacular audio created by Norman Bambi.

More about the work at: plenty.tv
Breakdown: vimeo.com/63584646

Art & Motion Direction: Plenty
Art Direction: Pablo Alfieri
Motion Direction: Mariano Farias
—-
Character Restyling: Claudio Iriarte & Yesica Pogorzelsky
2D Traditional Animation: Jules Guerin & Claudio Iriarte
3D Modeling: Juan Martin Miyagi & Lautaro Gonzalez
3D Texturing & Lighting: Daniel Bel, Jules Guerin & Sebastian Curi
Postproduction: Matias Mastriogliano & Sebastian Curi
Montage & Edition: Mariano Farias
Production: Inés Palmas
Year: 2013
Special Thanks to Andres Reisinger, Hernan Estevez & Elda Broglio for the Pitch Process.

Creative Direction: FunJob
Scripts & Character Design: FunJob
Sound Design: Norman Bambi

HTC One from Breakfast of Champions on Vimeo.

Produced by: Breakfast of Champions
Agency: SaatchiX, London
Director: Justin Lowings
Art Directors: Bill Hibbins & Chris Boys
3d Deisgn and Animation: Nahuel Salcedo
Additional animation: Justin Lowings
Music and Sound Design: Tom Gilbert at Echoic
Project Managers: Celine Gale (SaatchiX) Miles Paulley (Breakfast)
Account Manager: Ben Blackall

Sync 1 from christripes on Vimeo.

This is a collection of graphics experiments made in sync with audio.
All the pieces are made for mtv france hd launch.
Creative Direction: Mds (Milano Design Studio)
Music: “Toothpaste” by Igorrr, taken from the “Hallelujah” album (Ad Noiseam adn165)

Styleframes NYC / Opening Titles from TENDRIL on Vimeo.

The Opening Titles for Style Frames NYC. A Tendril Design + Animation Production directed by Anthony Scott Burns and Chris Bahry, and scored by John Black of CypherAudio. There is a great post on the making-of and process here: motionographer.com/2013/02/07/in-depth-coverage-stylefames-ny-opener/

Credits:

Production Company: Tendril Design + Animation

Directed by: Anthony Scott Burns and Chris Bahry
Music and Sound Design: John Black of CypherAudio
Editor: Chris Murphy of Relish Editing
Executive Producer: Kate Bate
Creative Directors: Chris Bahry and Alexandre Torres
Producer: Molly Willows

DOP: Anthony Scott Burns
Costumes: Jessica Mary Clayton
Make-Up: Stacy Hatzinikolas
Grip: Chris Atkinson
PAs: Howard Gordon, Derek Evoy

Man at Computer: Travis Stone
Gods: Iain Soder, Jessica Mary Clayton
Motorcycle Rider: Kris Sharon
Guy with Binoculars: Dennis Pikulyk

Gods Concept Art: Marco Texeira and Vini Nascimento
Additional Gods Concept Art: Ash Thorp
Environment, Prop, and God Design: Anthony Scott Burns, Vini Nascimento, Chris Bahry, Andrew Vucko
3D Modeling: Vini Nascimento, Marcin Porebski, Renato Ferro, Andrew Vucko
3D Rigging: Renato Ferro
3D Animation: Vini Nasicmento, Marcin Porebski, Renato Ferro
Textures: Vini Nasicmento, Renato Ferro
Lighting, Render: Brad Husband
Title Animation: Andrew Vucko
Compositing: Chris Bahry, Anthony Scott Burns, Brad Husband

About

Tendril’s longtime friend and collaborator John Black (of CypherAudio) was approached by Stash Magazine editor and STYLE FRAMES executive producer Stephen Price to create a musical framework for the show’s opening titles. John recommended Tendril as a great partner to create a visual, and soon after we were meeting with Stephen to discuss.

After some initial brainstorming at the studio, our Creative Director Chris Bahry reached out to the ultra talented filmmaker, designer and musician Anthony Scott Burns. Anthony had left commercial work to pursue feature film, and to us this project and client seemed like the perfect chance for an overdue collaboration. Together we came up with the self-referential story of a person creating a pitch, and the nightmarish encounters he has with himself and five ‘Gods’ that represent aspects of his creative psyche - the ‘Gods’ represent flesh/blood; technology/power; rest/play; form/function; love/passion.

We figured that anyone who has engaged in a pitch or any kind of creative process under pressure will identify with aspects of the ‘Ritual’ that plays out over the course of the sequence. With pitches, we put the best of ourselves out there to be the ones selected for a project and it’s a painful and exhilarating experience. It’s the nerd/artist’s equivalent of extreme sports. It’s not meant to be a message that pitching is bad at all; but when we really got into it, things quickly became visceral and dark. We wanted to be true to the subject and this is what came out.

It was ambitious and there was certainly interplay between life and art during the piece’s inception. We wanted it to be an epic live-action and CG combo; plus the timeline was incredibly tight with just over a month for a 3-minute short with over 95 shots and no money. To that end, we drew on every resource at our disposal, including our partners for make-up and costumes, friends and family as actors, running around town with our own kit and gear, and the amazing team of designers and artists at the studio for execution. We came up with a lot of smart and cheap solutions for getting all the shots we wanted and are excited to share it all soon in some behind the scenes materials.

After we had our footage, we enlisted Chris Murphy of Relish for editing and John got to work giving the score a deep, cinematic feel, building up slowly to the reveal of the Gods. The sound design opens with more traditional musical elements for the first two movements and then introduces a more contemporary feel in the middle that continues into the finale.

All in all, it was a dream team collaboration that resulted in a work that we we hope depicts the essence of the pitch process in 3 minutes.

Look out for lots of making-of and process soon!