Cosmos: A Spacetime Odyssey

“Cosmos: A Spacetime Odyssey,” the reboot of the classic science TV series helmed by Carl Sagan that aired in 1980, should be required viewing for all of us.

In “Cosmos,” artful visual effects and elegant motion design inform and delight in equal parts. Animation is as essential to the success of “Cosmos” as the lovable hosting talents of astrophysicist Neil deGrasse Tyson.

All-Star Team

With executive producer Seth MacFarlane behind the show and a 13-week run on Fox and National Geographic, the creators of “Cosmos” are going toe-to-toe with primetime. The premiere launched opposite AMC’s “The Walking Dead” and ABC’s heavily promoted “Resurrection” and still managed to rake in an impressive 8.5 million viewers.

Brannon Braga, co-executive producer and director, is no stranger to space drama. He co-wrote “Star Trek: First Contact” and executive produced all of the Star Trek series after the original.

Co-directing from behind the camera is DP Bill Pope, best known as the cinematographer for “The Matrix.”

Then there’s Rainer Gombos, visual effects supervisor of “Game of Thrones” fame. VFX shots themselves have been handled by a who’s who of facilities including Framestore, BUF, Tippett Studio, Atomic Fiction and Montreal’s Mokko Studio.

Not too shabby.

The Title Sequence

The title sequence (seen above) is as thoughtful and jaw-dropping as the show itself.

Created by BBDG (Shaun Collings and Curtis Doss), the opener oscillates between the cosmic and the microscopic, the tangible and the ethereal. Like the show, the sequence uses the power of metaphor to draw parallels between the mysterious grandeur of the universe and the grand reality of our everyday lives.

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Character Animation

The animated sequences produced by Kara Vallow (with whom MacFarlane has a long working relationship) and Six Point Harness are an alternative take on the live-action based historic segments from the original “Cosmos.”

In an interview with Geekosystem, Vallow explains the reasoning behind using animation:

Seth [MacFarlane] thought that [using live action for the historic segments] was going to be prohibitive in this incarnation of the series, because viewers are much more sophisticated now than they were then in terms of historical time periods being recreated by Hollywood. We’re attuned to seeing big budget period movies and costumes and stuff, and in the original series they were done very low budget.

I don’t think they thought that viewers were going to accept that now, and they didn’t have the time to do a big budget Gosford Park type imagining of the narrative. So, it was Seth’s idea to do those in animation.

Watch it online

Full episodes of “Cosmos” can be viewed on the official site and on Hulu.


Or if you’re feeling lazy, watch the first episode here.

Patrick Clair + Elastic: HBO’s True Detective

One of our favorite projects from 2013 was Patrick Clair’s launch trailer for Tom Clancy’s The Division, a global conspiracy theory rendered in elegant typography and metaphorical imagery.

With the same understated poignance that is his hallmark, Mr. Clair’s latest project is a title sequence created in collaboration with Antibody (Clair’s studio) and Elastic for HBO’s new series, “True Detective.”

In an interview with Art of the Title, Clair explains:

As we started to plan the movement and animation, we faced some interesting challenges. We wanted the titles to feel like living photographs. But the footage was too kinetic and jumpy and stills were too flat and static. Many shots feature footage that has been digitally slowed to extreme degrees. The digital interpolation and artefacts created by slowing footage down often looks strange or tacky, but we found that in this case it evoked a surreal and floaty mood that perfectly captured what we were after.

Read more in Art of the Title’s excellent interview.

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Client: HBO
Air Date: January 12, 2014
Opening Title Sequence: Elastic
Director: Patrick Clair
Executive Producer: Jennifer Sofio Hall
Design/Animation/Compositing: Antibody
Senior Designer: Raoul Marks
Animation + Compositing: Raoul Marks
Animation + Compositing: Patrick Da Cunha
Production: Bridget Walsh
Research: Anna Watanabe
Additional Compositing: Breeder
Compositing: Chris Morris
Compositing: Joyce Ho
Production: Candace Browne
Production: Adam West

Sony “Television Redefined”


Hints of Patrick Daughters in this stream-of-consciousness live action spot from Sony. 2D animation by Not To Scale’s Steve Scott. If anyone can find full credits, please drop us a line.

UPDATE: Mr. Scott has informed us the spot was directed by Johnny Green with an “insane amount of work by Glassworks.”


Director: Johnny Green (Gorgeous)
Producer: Spencer Dodd (Grey London)
Creatives: Matt Waller & Dave Monk
Agency Producer: Rebecca Pople
VFX: Glassworks
Flame: Duncan Horn
3D: James Mann + his crew
Producer: Misha Stanford
2D Animation Directed by Steve Scott (Not To Scale)
Animation: Ed Wilmore
2D Animation Producer: Lisa Hill
E.P. Dan O’Rourke:
Compositing: James Littlemore

Posted on Motionographer

Episode 1: WMIG Phonebooth

A couple months ago, We Make It Good took a long, hard look into the swirling vortex of the internet kingdom and as we stood there staring at our naked body, collectively twisting our giant mustache, we asked ourselves some questions about our place in it all. These achingly beautiful moments of introspection gave birth to WMIG TV: a place for us to showcase some of the stuff we’ve been working on outside of the laptop. Epic parties, giant phones, variety shows, bike riding, Austin, Texas, Buenos Aires, and so.. so.. so much more have all been captured for us to periodically post in this new section of wemakeitgood.com. Some of it is fun, some serious, some stupid, some are moments of staggering genius (just kidding) but by and by we were like “We refuse to let all this tapping on the keyboard stop us from living life, man.” So, we went out to live it up. It was fun. Check it out.

Click here to view the embedded video.

If you were walking around Soho a few months ago you couldn’t be blamed for thinkinpx Helvetica;”g there was a new phone company in town. But in actuality, it was just us setting up our ginormous phonebooth. We challenged ourselves to create a week long installation in a Manhattan storefront based on the theme of communication. We chose to illustrate this theme with a good old fashioned telephone. A device that instills quaint feelings of nostalgia in all of us at WMIG and illustrates the most effective way to communicate a message: words delivered from one human being to another.

PHONE AND PHONEBOOTH UNDER CONSTRUCTION.

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Click HERE to see more.

As we developed the concept, we devised numerous methods to get our message out. One of them being to plaster thousands of posters all over lower manhattan that showed a faceless man holding a piece of paper with a phone number on it. The simplicity of the image of course belied it’s complexity and was intriguing enough to result in thousands of phone calls as the installation ran through the week. Each phone call was greeted with a voice message giving directions to the We Make It Good Phonebooth and resulting in over 1,000 visitors during our one week run.

OUR POSTER CAMPAIGN.

Click here to view the embedded video.

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OUR CLOSING PARTY WITH FADER MAGAZINE.

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Click HERE for more.

At the close of our brief installation we threw a party with our friends from FADER Magazine which was nothing less than a fantastical mystery tour of Bud Select, LA Rap, Karl Lagerfeld and flashing lights. And that was it. Poof. We were gone so quick it was like we were never there, which is the reason we made this little post and film. It’s short and sweet and gives you a little glimpse into a day at our studio. And if you have been wondering what We Make It Good is exactly….well…we are message makers. We construct very simple and sometimes elegant messages for ourselves and others. Keep tuning back in to WMIG TV to see other messages that we have crafted for Samantha Pleet, Discofunbath, Chari & Co. and many many more. And don’t forget to call us sometime, cause we should hang out : 888 WMIG 666.

Love,
WMIG

Midnight Blue

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All this talk of NY’s inevitable return to 70s / early 90s -style economic gloom – with the only difference being the rubble of the former is replaced by the empty glass condos of the latter – reminded us of Al Goldstein’s infamous cable access show, Midnight Blue. Interviews with R. Crumb, restaurant reviews, his feelings about Sean Penn; just some of the glorious moments that serve to remind us of a time when d-bags like Al Goldstein could smoke a cigar in front of the Wall Street Bull while wearing a rattlesnake vest and make it feel like great tv. Videos are after the jump.

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