1/5/2024 0 Comments Se7en seas layers of fear 2Once again, bringing natural textures into the 3D space was the key to creating a sense of authenticity, so Fong and her team photographed the set. Recently, Fong directed the title sequence for the new Starz show Counterpart, a science fiction espionage thriller in which a UN bureaucrat discovers his agency is guarding a crossing point to a parallel dimension.įong tells us that it was important to the show’s creators that, despite the sci-fi themes, the sequence felt grounded in reality, so it was important to capture the essence of the real-world setting – which was a mundane government office in Berlin. Sequence Designer: Karin Fong and Michelle Dougherty.Incorporating negative space was intentional – it symbolised pockets of her blackout.” 05. Paint became the driving visual metaphor for Jessica Jones’ blurred visions, and acted as a transitional element between the scenes. “We asked ourselves, what does PTSD look like? How would the world look through her point of view? From there, I explored a direction where layers of paint were smeared across various vignettes in Hell’s Kitchen. Jessica Jones is a dark story of a human psyche damaged by trauma and abuse – Jessica has PTSD and drinks heavily – so the team looked for ways to hint at the vulnerable aspects of her character. So you never saw the scene in full it was always a partial view surrounded by a sea of black negative space.” “The vignettes would be blocked by some object in the foreground or enclosed inside a door or window. “A lot of the compositions are designed to carry a voyeuristic tone,” she tells us. Jessica Jonesĭirector and motion graphics designer Arisu Kashiwagi was lead designer on the title sequence for Marvel’s Jessica Jones, which, like the Anne with an E titles, uses paintings brought into the 3D space to convey something of the essence of the show’s protagonist.įor the initial concept design, Arisu and the team at Imaginary Forces sought to depict the nature of Jessica’s work as a private detective, sneaking around and peeping through the windows of Hell’s Kitchen. The result of this restraint, plus the presence of Brad Kunkle as art director, is a 3D sequence with beautiful movement and light that preserves the natural feel of the original works. We even rigged and animated our Anne character but found it no longer read as a painting, feeling digital and uncanny.” Yes, we could have had the camera move more dynamically throughout each scene – and we tried – but very quickly Brad’s perfectly composed scenes felt off, fighting against the overall authenticity and cohesiveness of the piece. “It was our CG teams’ ability to practise restraint that I am most proud of. There was a bit of digital painting needed to fill in portions of the paintings due to the addition of camera movement,” Williams explains. Once modelled, we then projected these painted elements onto them. “Our CG artist used Cinema 4D and Maya to sculpt geometry that matched the contours of the objects in Brad’s work. Brad Kunkle created additional paintings especially for the sequence and also served as art director, helping the team to ensure that his style was preserved. “We were always trying to find a balance between retaining the beauty of Brad’s artwork and introducing dimensionality, moving reflections and dynamic lighting through CG,” Williams tells us. The work of artist Brad Kunkle was selected for its depth and realism and also its use of gold and silver leaf, which creates interesting reflections. “Looking outside the standard pool of Photoshop artists in NYC, we wanted to find an authentic, handpainted style that would speak to the humanity of this character,” says Williams. For this sequence Williams sought to bring the natural texture of real paintings into the 3D space. Alan Williams worked as creative director on the title sequence for Anne with an E, a TV show based on the novel Anne of Green Gables about an imaginative girl who loves to immerse herself in nature.
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