Jun
24
Jun
23
Capacity Update
Posted in: Animation, Audio, cg, cinematography, Design, directing, illustration, MotionCapacity.™ Montage from Capacity.
Capacity update with a fresh new montage, featuring an exclusive music track from Plaid.
Apr
29
Gretel: CNBC Prime
Posted in: cinematography, Design, directing, Motion, photography, typography
NY based Gretel does the most clean, authoritative and bold rebrand for CNBC Prime. Beautiful live-action was also shot by Gretel’s team.
Apr
19
Feature: GMUNK: Oblivion GFX Montage
Posted in: Animation, cg, cinematography, Design, features, Motion, typography, vfxThe 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…
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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
Apr
12
*** NSFW *** … but of course that depends on where you work, but in this case it would need to be a relaxed work enviro as there are some extremely graphic shots, so be warned. Oh, and btw, particles of light can make you horny.
With the release of yet another original and edgy multimedia campaign, RPA and Tool continue their fourth year of partnership in promotion of the annual Newport Beach Film Festival. This year’s package – on the power of film to elicit emotion – is the latest in a succession of traffic-stopping campaigns that have propelled the Festival to a power seat in the crowded film-festival circuit and includes a short film, print art, interstitials, program dividers, and digital art.
“Great film has the power to change you,” said co-founder and director of marketing Todd Quartararo. “Year after year, RPA and Tool have crafted campaigns every bit as powerful and unexpected as the films that make up the Newport Beach Film Festival, pushing the emotional envelope and helping to set us apart from other festivals, continuing to position ourselves as a forum for great films, and growing to a size that few could have imagined.”
At the heart of the campaign is “Mandible,” a shocking short film directed by the standout Tool duo of Erich Joiner and three-time Academy Award-winner Robert Richardson (Django Unchanged, Inglourious Basterds, Shutter Island, Kill Bill: Vol. 1 & 2). The 7:00 short portrays a vengeful dentist, who with his sadistic sidekick tears a patient’s teeth out as a penalty for not flossing. Peppered with revealing thought montages and balanced with moments of beguiling calm, “Mandible” is a lucid exemplar of the power of film, a point underscored by the dentist who closes the film, looking from his mutilated subject to ask, “Are you repelled? Appalled? Amazed? Amused? We’re particles of light on the screen, but we can make you feel anything.”
“We wanted to demonstrate the power of film by taking audiences to a heightened state of emotion and then pulling them back to reality, reminding them that they’re watching particles of light on a screen,” said RPA Creative Director Scott McDonald. “We forget that many of our memories, sorrows, romantic urges and inspirations have been generated by something that is actually not there. Film is incredibly seductive. Watching can be a transformative experience that changes your worldview. This is what the Festival is all about. We wanted to create an artful, provocative piece that demonstrates that idea and also pushes the boundaries of what a festival promotion can be. And we definitely had the dream team to do it.” As in years past, RPA and Tool took a renewed creative approach, determined to push boundaries and craft something that would shock even the seen-it-all film set. This year’s advertising breaks away from the traditional 60-second format, evolving into a seven-minute showpiece that communicates the power of film. The film will live on the Festival’s site as well as YouTube, and a :60 teaser will run before select films at the Festival. Signs throughout the Festival will remind the diverse audience of the power of particles of light to make people angry, ecstatic, sad or aroused. The campaign also includes theater, print, digital, outdoor boards, a program book and interstitials. Print will run in the “Los Angeles Times,” “Los Angeles Magazine,” and “Esquire”. Social-media activations will include an integrated Twitter and Vine campaign featuring six-second videos. The Festival will run throughout Newport Beach and Costa Mesa, beginning April 25 and concluding May 2.
As in years past, RPA and Tool took a renewed creative approach, determined to push boundaries and craft something that would shock even the seen-it-all film set. This year’s advertising breaks away from the traditional 60-second format, evolving into a seven-minute showpiece that communicates the power of film.
The film will live on the Festival’s site as well as YouTube, and a :60 teaser will run before select films at the Festival. Signs throughout the Festival will remind the diverse audience of the power of particles of light to make people angry, ecstatic, sad or aroused. The campaign also includes theater, print, digital, outdoor boards, a program book and interstitials. Print will run in the “Los Angeles Times,” “Los Angeles Magazine,” and “Esquire”. Social-media activations will include an integrated Twitter and Vine campaign featuring six-second videos.
The Festival will run throughout Newport Beach and Costa Mesa, beginning April 25 and concluding May 2.
Apr
11
The Architect titles
Posted in: cinematography, Design, directing, Motion, photography, typographyI just launched this title sequence for an imaginary film with my favorite cast and crew working in film right now.
A story about a veteran Los Angeles architect going insane, slowly disconnecting from the world around him.
A love letter to architecture, Eames and 70′s era films.
Original score by Jesse Solomon Clark
Mar
14
Let the Titles roll for 2013 eh? So much great work this year so far, not excluding these Opening Titles for the 2013 Semi-Permanent Festival, shot and designed by Danny Yount … “Shot on a 5D MKII and built in AE with no fancy plug-ins.”
Mar
12
Beautiful second trailer for Gondry’s new movie “L’Ecume des jours” (“Mood Indigo” – english title). We cannot wait to watch it!
Oct
21
Diablo III Black Soulstone Cinematic
Posted in: 3d, Amador, Animation, art, audio news, Blizzard, cg, cinematic, cinematography, Diablo, MotionYou don’t have to be D&D nerd to appreciate this amazing Cinematic for Diablo III Black Soulstone. Made by Blizzard Studios.
Oct
17
MPC: Film Reel Autumn 2011
Posted in: cg, cinematography, Design, vfxAbsolutely gorgeous Film Reel from Moving Picture Company, now based in London, Los Angeles, Vancouver and India. “MPC leads the world in post production and visual effects for the Feature Film, Advertising, Digital and Television industries.”
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