Based on the book of the same name, the series explores one woman’s obsessive search into the world of a violent predator who terrorized California in the 1970s and 1980s, and whom McNamara herself dubbed ‘The Golden State Killer’. “I’ll Be Gone in the Dark” refers to the words the killer would say to his victims.
what we did.
We created the title sequence that takes the viewer through a distinctively suburban neighborhood, shadow and light sweep through the frames, the audience begins to feel the sinister sense of being watched. The turning corners and light appears through a door ajar, we begin to question whose perspective we are seeing through the eyes of – a violent, unrelenting predator, or the mind of Michelle McNamara herself?
For All Mankind imagines a world where the Soviet Union sets foot on moon first, beating the United States in the Space Race. What happens next is out of this world.
what we did.
Gilded lines deviate and converge in a graphic, tactile space paying homage to the past while hinting to an alternate future. These lines create the show’s logo, reminding us of the common thread we all share.
creative director: alan williams
producer: aleen kim
art director: max strizich
designers: max strizich, henry chang, clint chang, sam alexander
animators: max strizich, rick kuan, hogan williams, henry chang
Beams of colored light travel through space and converge to form the logo signifying the diversity of Netflix’s vibrant catalogue. With Hans Zimmer’s original score this opening transports the audience to their next theatrical film experience.
what we did.
Working closely with the Netflix brand team we first developed the theatrical logo. After its successful premiere at the Venice Film Festival in front of Alfonso Cuarón’s “Roma,” the scope of the project expanded to include the platform; resulting in a unified identity preceding all original Netflix content.
and then...
Netflix’s global brand expression was born. The identity now lives on social, print, and the platform for all originals, and continues in its original form – in theaters around the globe.
creative director: michelle dougherty
producer: keith bryant
cg supervisor: meng-yang lu
lead animator: evan sexton
animators: christoph gabathuler, lindsay bohn, miro klasinc
Emmy-winning Sonic Sea documentary for NRDC and IFAW
Sound is essential to the survival of marine life, yet lethal human-made ocean noise continues to threaten this fragile ecosystem. Alongside Natural Resources Defense Council (NRDC) and International Fund for Animal Welfare (IFAW), we produced and directed Sonic Sea, a multi-winning Emmy documentary film advocating policy to protect our oceans from the destructive effects of underwater noise pollution. Learn more at sonicsea.org.
what we did.
Directors Michelle Dougherty and Daniel Hinerfeld knew an emotionally resonant story was needed to create awareness and initiate action for Ocean Noise Policy. Watch behind-the-scenes below to see how satellite data from Google Ocean was translated into simple yet scientifically accurate animations. There’s also an exclusive interview with Michelle Dougherty and famed composer, Heitor Pereira, discussing the film’s Emmy-winning sound design.
Sonic Sea won two Emmys including Outstanding Nature Documentary and Outstanding Music and Sound, and was nominated for Outstanding Graphic Design and Art Direction. More importantly, it helped spur the release of the National Oceanic and Atmospheric Administration’s (NOAA) Shipping Noise Strategy. The documentary was instrumental in getting the Canadian government to decrease shipping in key migrational routes, and led to Maersk, the world’s second largest shipping company, fitting its ships with noise reducing tech. It has become a valuable educational tool all over the world to teach about noise pollution in our oceans.
Spreading Peace, Love, and Joy for the holiday season, these 3 unique animated sculptures were sent all over the world. Try them out for yourself on a mobile device at IF-AR.net.
what we did.
Taking inspiration from classic designers, like Alexander ‘Sandro’ Girard and Charles and Ray Eames, we built typographic statues with custom sound design and applied them to an AR 3D world. Instead of using AR technology to make something futuristic, we were influenced by the past.
Emmy-winning main title for Stranger Things on Netflix
Fragmented pieces of the logo kick off the Stranger Things sequence with a look and feel harkening back to the ‘film optical’ titles of the 1980s. This custom retro typeface animation married to the signature opening music by Survive creates the feeling of being drawn into a world both eerie and nostalgic.
what we did.
We experimented with passing light through physical Kodaliths. It was important to introduce the subtle inconsistencies of traditional film opticals into this digitally animated sequence. At one point, Dan Perri, known for the original Star Wars titles, stopped by the Studio to share his insight and experiences with the Forces.
and then...
You know what happened next… Culture embraced the sequence wholeheartedly, and Stranger Things paraphernalia, fan art, branded collaborations, and name generators popped up everywhere. The title won an Emmy, a Clio, and a Communication Arts Award. We continue adapting it for new seasons, promos, and teasers for around the world.
For Season 2 the filmmakers wanted the title sequence to create a visual portrait of Jack Ryan. To showcase the nuanced personality that makes Jack ‘Jack’ we merged two concepts which reflect his world: Duality and Pattern Recognition.
what we did.
The ‘Duality’ of Jack’s life is expressed through split screens revealing his experiences as civilian and soldier. This effect is coupled with ‘Pattern Recognition’ – the computer data and analytics that detail Jack’s personal life and military service.
and then...
Prime Video’s X-Ray featured the title sequence in a special “making of” segment, which includes an exclusive interview with Creative Director Karin Fong. See it in-app or watch it below!
