Jack Ryan.
Description
Jacky-Ry as the guys called it. They were the good old days. Maybe the first big job were I was the most senior designer. Though I had it easy with talented comrades like Aaron Stelfox, Francise Long and Marcel Sobkow. Not to mention Dan Herlihy(AD), Ashton Hertz(Prod) and later Harriet Craig(Prod) keeping a keen eye on everything.
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Client
Amazon Studios, Paramount Television Studios, and Skydance Television
Year
2021-22
Type
Episodic
Description
Jacks back. And theres a Soviet plot to uncover. You know what that means? I get to make old blue prints and documents. I love making old blue prints and documents. To make these typically I'd design some elements in Illustrator, render some wireframes of kitbashed objects in C4D. Then bring it all together in after effects. Adding plenty of paper scraps and book edges for texture (often scrounged from the Smithsonian). Sprinkle some hand written scribbles, a bit DOF and you're set. Oh and an old soviet map, my eyes lit up when they briefed us on that.
The framework on the other hand I kept in our C.I.A. aesthetic. Modern clean cool muted colours, sans serif fonts, a relatable functionality. A touch more high tech than your average PC but no more.
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Description
(Above) The blueprint above, shown regular and inverted, were a collaboration with Chirs Hiller-Forshaw. I hope I bump into that guy again.
(Below) The Night vision goggles were designed and treated by me, but the animation was all Aaron Stelfox. Dream team.
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Description
I designed and animated a couple dozen ambient screens for the C.I.A. Databases, search windows, analytical readouts etc. A handful of them even made it in focus, the rest made beautiful bokeh's. James Greer played by Wendell Pierce (The guy from the Wire) had a storybeat combing through CCTV footage of an attack. So I designed and animated plenty of CCTV screens that he flicked through zoomed and enhanced (like he did on The Wire, great show).
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Description
If you're talking maps, you're talking my language. Any opportunity to get cartographic and i'm on it. The storybeat for this one was a series airports that a rogue convoy could be targeting. In this line of work you get used to directors wanting anything the audience has to read ,to be 500% scale and bright red so it can't be missed. Always a battle, but here I felt like the director was pretty reasonable, you can't miss the airports but there not ridiculous either.
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Description
Lastly, phones. I had a hacking beat and a hi tech map visualisation, that both needed to be on smartphones. The hacking app worked for me but I always felt the map got a little too sci-fi. Still, looks nice.
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