Lift.
Description
This one built some real camaraderie. Dan Herlihy (AD), Harriet Craig (Prod), Myself, Francise Long and Marcel Sobkow. We laughed, we cried and mostly we created motion graphic design. We lived, for that one message whenever a screen was signed off.
'K, No notes.'
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Client
Warner Brothers
Year
2021-22
Type
Film
Description
The ask was to design a cockpit of screens for a luxury private jet. The jet actually had a name. 'The P*ssy Slayer'. Nothing I can add to that. These graphics started out purple which for me never worked, the black, silver and orange colour-way we got to in the end was a big upgrade. This Cockpit sweet was created by myself and Francise Long. Couldn't have asked for a better partner.
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Description
(Above) Lukas tech was supposed to immediately recognisable. So I designed everything in a yellow colour palette, and kept a consistent shape language. Keeping things hi-tech and a little OTT.
(Below) I had fun with Mi-Sun's tech. Creating hi tech abstract data visualisations. These concepts are the first images I made for the show. The colour palette and look changed a little for the final film. But hey its my website. So you're seeing my favourite version.
(Right) I animated several elements for Mi-Sun's glasses and handed them to an artist called Wikus Prinsloo who was freelancing with Territory. With nothing but the base plate from the client he fabricated a ready player one style sci fi glasses shot. Always amazed to see what he pull out of thin air.
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Description
The Interpol aesthetic was set by the charismatic olympic speed talker Dan Herlihy (AD). I picked up the aesthetic and created the screens below.
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