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
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.
This is the official SUNDAYS VFX breakdown from the PostPanic Pictures headquarters in Amsterdam. Produced primarily by the in-house specialist CG team at PostPanic, the breakdown also contains elements from guest contributors worldwide who supported on the post side.
Directed by PostPanic co-founder, Mischa Rozema, SUNDAYS was filmed in Mexico City and then brought back to PostPanic’s studio for the mammoth task of creating Mischa’s world. An intertwined, organic work flow defines the post production which creates PostPanic’s highly aesthetic artistic signature. Headed up by VFX Supervisor Ivor Goldberg, the VFX team all share an obsessive attention to detail and a passion for their craft is clear to see on this detailed breakdown.
I was hired on by Imaginary forces as a freelance art director/designer to help with the look and vision of the opening title sequence to the show Person of Interest. Here is the final product and below a link to some of the actual working photoshop design frames.
In mid January of 2012 I was introduced to the very talented Patrick Tatopoulous who brought me on board as a freelance designer to build and develop graphics and user interface technology for the world of Total Recall. It was an amazing opportunity that I knew I couldn't pass up seeing as the original was a childhood favorite of mine. I soon discovered just how vast the world Len Wiseman and his team had built and knew right away I had lots of work ahead of myself. My total contribution on the project lasted about 5 months, it was an intense amount of work to be done about 200 shots in total made it to the final print of the film.
The reel above is a portion of the graphical elements I created for the film. All the approved designs where then taken to the animation stage by my very talented friend Ryan Cashman whom I worked very closely on during the remainder of our stay on the 5 month project. Our work was then sent to post production houses where the designs where composed into the final print of the film. A HUGE thank you to the enormously talented team on this project and for having us on board with you guys it was a great journey! CHEERS!