Perception worked closely with Director Jose Padilha to concept and develop heads up displays, large-screen interfaces, and even a virtual talk-show set and broadcast package.
Find out more here.
Kirk Kelley, Creative Director
Kameron Gates, Director
From an Original Story by Allan Turner and Kameron Gates
Best Minute Movie at Animation Block Party in Brooklyn
Short Film Silver at The Australian Effects and Animation Festival
Audience Favorite Award at the California International Animation Festival in the category 3D Animation
Ottawa International Animation Festival: Nominated Best Short Animation
The delicate balance between live action and CGI.
Find out how The Mill visual effects studio created the CG beetle featured in the commercial for VW’s 21st Century Beetle, which premiered during the Super Bowl, in 2011.
From Johnny Likens.
All of the 3D elements, including a miniature version of the suit and the holographic helmet, were generated and rendered from CINEMA 4D. These graphics had true 3D depth, which heightened the stereo viewing experience as well as the interactive light qualities that are both photo-real and immersive.
This is a process montage that was created to give some insight into the development and design thinking stages of the work Johnny was specifically involved with on the film.
VFX Supervisor: Venti Hristova
VFX Producer: Sean Cushing
Digital Producer: Lily Shapiro
VFX Artists: Aaron Eaton, Matt Eaton, Jonathan Ficcadenti, Jayse Hansen, Stephen Lawes, John Likens, Leon Nowlin Jr., Alan Torres, Lukas Weyandt
Find out more:
Further evidence of Hollywood’s impending demise.
Spherical Harmonics is about the strange power of the CGI image. It is a hermetically sealed fantasy, full of digitally created memories, counterfeit physics and controlled accidents. A place where reality fails because it’s too perfect, and where spectacular CGI setpieces are replaced with more introverted and complex fantasies – fantasies of the digital-artist-as-god, lost in uncanny valley.
The film is was created in just six weeks and is currently exhibiting on ‘The Wall’ at The Photographers Gallery in London, an eight-screen HD array with a combined 3K+ resolution and an unusual aspect ratio. Spherical Harmonics sits stylistically at a halfway point between the glossy product displays of Oxford Street and the workhouse construction of Soho’s post production scene. It’s a fantasy under construction. It’s a play between glossy surface and behind-the-scenes complexity. It advertises beauty but undercuts that beauty in a way that suggests it’s unstable or subject to the whims of an invisible authorial force.