February 20, 2018
Event Graphics Package
The Realscreen Summit celebrated its 20th Anniversary this year, partnering with us to create an energetic, dynamic graphics package to match the excitement.
Our unique color space allowed for light to play off each element and create visuals that felt exclusive.
From the very beginning, we wanted to represent all of the elements that are used and recognized by filmmakers and storytellers, highlighting tools of the trade such as cameras, slates, pens, keyboards, and more. After designing the objects in a zero-g environment, we spent time rendering each one with a transparent, refined surface. Our unique color space allowed for light to play off each element and create visuals that felt exclusive. Each hero object floats, interacts, and slowly comes together to evolve into the RS20 logo.
With the main show open complete, we took to creating the open for the Summit Showdown. We kept the same familiar elements from the main open, but used them to create a distinct sense of anticipation and competition. To accomplish this, we introduced the split-screen, translucent text, and the turning of the clock.
In the end, we delivered an ad promo, main open, Summit Showdown open and countdown clock, each piece used for its designated event.
A big thank you to our partners and collaborators at Brunico for their insight every step of the way. We can’t wait for Realscreen 2019, New Orleans!
February 20, 2018
As a great kick off to our year, our creative partner, Rob Grobengieser, brought us a project full of flavor with a side of nacho cheese sauce. Together, we worked with Viacom Velocity to create four unique “teaser-trailers”. Each deciphers one of the greatest conspiracies of the fast food world--why doesn’t Taco Bell sell fries?
One of the greatest conspiracies of the fast food world--why doesn’t Taco Bell sell fries?
To create these four spots, we combined existing footage from the Web of Fries trailer, found stock footage, and customized glitch effects to announce the salty fry release on MTV, Paramount Networks, VH1, and Comedy Central.
Overall, we incorporated shots that evoked the global conspiracy, and sprinkled in scenes that would specifically cater to each of the four channels & their corresponding shows. This gave us a wide range to choose from and allowed for four visually unique takes on the same story.
Once all of the effects and footage were edited together, we finalized the VO and took it to final mix. The tight deadline and dedicated team enabled us to deliver all of the spots and versions seamlessly for immediate air--all leading up to the launch of the trailer and fries. A big thanks to Rob G, Viacom, and Taco Bell for getting us caught in the Web of Fries!
February 20, 2018
Photo Treatment & Show Package
At the end of last year, we were asked to create an overall look for a new docu-series “The Menendez Murders: Erik Tells All” set to premiere on A&E. Teaming up with our partners at MEgTV, we worked together to envision the graphics and live-action storytelling scenes that would help us visualize Erik Menendez’s story.
MEgTV had never-before-seen photography of the Menendez family and a significant amount of screen time to fill. We knew we wanted to use these images to create installations specifically customized for our in-house animation rig to capture. The set up would create an authentic physical presence and a haunting series of narrative visuals. After gathering references of possible photo treatments, we decided to experiment with all of the directions.
Some of the experiments consisted of submerging different types of paper in water, burning with water and sugar, burning with a heat gun, soaking photos in rubbing alcohol, listerine, cough syrup, and more--all on different types of paper that would react differently to various elements.
In the end, our best friends turned out to be a few pieces of warped and broken glass, magnifying glasses, projector setups and layers of plexi-glass. Each scene was manually set up and stylized to fit the narrative’s needs. We then shot with our Black Magic Mini Ersa and a 50mm macro lens to create depth of field. Our rig allowed us to set keyframes to pan, slide, shift focus and tilt at a controlled speed.
The set up would create an authentic physical presence and a haunting series of narrative visuals.
After shooting, we brought each sequence into edit, color correct & stabilization and delivered over twenty sequences in all. For all other photos, we were able to shoot glass effects on black and create a user-friendly and dynamic toolkit.
In further exploration, we took a look at illustrating some of the more detailed moments from Erik’s memory. Although these never made it to prime-time, we developed a deep creative process with MEgTV and delivered all scenes with a fast turnaround on a fine-art level.
In the end, we packaged the show’s main title and opening sequence, lower thirds, bumps, location IDs and of course, photo sequences. The project enhanced our use of the rig and allowed room to creatively solve problems in-camera and graphically. It was a fantastic collaboration with MEgTV & A&E and we loved implementing our various techniques to tell Erik’s deeply emotional, personal, and layered story.