1. Title sequence for RTL II’s weekly magazine.

    # vimeo.com/61526927 Uploaded 11.4K Plays 19 Comments
  2. Business Class is the new multi-platform system offered by the Italian newspaper Il Sole 24 Ore. Business Class consists of a serie of products and services which offer exclusive updates, insights and content personalization thanks to the complete integration between print and digital

    Business Class è il nuovo sistema multipiattaforma di prodotti e servizi esclusivi che offre aggiornamenti, approfondimenti e personalizzazione dei contenuti del quotidiano grazie alla completa integrazione tra carta e digitale.

    Art direction: Laura Cattaneo
    Direction/Animation: Alessandro Novelli / N9VE
    Animation: Andrea Gendusa, Victor Perez / N9VE
    Music & Sound Design: Simon Smith
    Art Direction print campaign: Francesco Franchi
    Illustration: Francesco Muzzi
    Graphic: Davide Mottes
    Copywriter: Pasquale Diaferia
    Client: Il Sole 24 Ore

    # vimeo.com/63995085 Uploaded 9,010 Plays 4 Comments
  3. Watch this emotive scene from the University of Hertfordshire's Tom Balev, created with NUKE.

    Tom was asked to incorporate CG elements into existing real-life footage, in his own words: "My initial idea was to create a crash scene although I didn't want to create just an ordinary set-extensions projects without any emotion to it whatsoever. I realised I could incorporate the driver walking away from the crash scene by using various sound effects (breathing, heart beat etc). Using V-Ray I created separate render layers which meant I didn't need to re-render the entire scene when corrections were needed. I used an entire range of render elements including ambient occlusion, velocity passes, z-depth, shadow passes and more. Everything was exported as a multichannel 32-bit EXR to preserve floating point information. In NUKE individual render layers were separated, colour corrected and merged together. I added additional z-depth blur along with vector blur using my previously exported velocity pass. Final steps included some imperfections like grain, lens correction, lens reflections, chromatic aberration and vignetting. I can't think of any other software than NUKE which would be more suitable for this projects workflow. NUKE is extremely powerful and robust compositing software packed with the variety of features I needed to successfully accomplish this task.

    Modelling, texturing and lighting completed in Maya.

    # vimeo.com/64298493 Uploaded 2,187 Plays 0 Comments
  4. This is a showcase of the 76 unique typographic designs I created for the opening title sequence of the FITC 2013 Toronto event. The graphic adornments around the speakers' names were inspired by the pins used by entomologists when setting the permanent position of the insects being mounted.

    # vimeo.com/64336775 Uploaded
  5. The 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… 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.

    A more thorough GFX Breakdown at: work.gmunk.com/OBLIVION-GFX


    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...


    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...


    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...


    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

    # vimeo.com/64377100 Uploaded 351K Plays 124 Comments

Motion Graphics Elements


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