This was 3 1/2 yrs. ago. Time to go to the next level?
“Box” by Bot & Dolly
The piece was essentially grounded on the Principles of Stage Magic, invoking five of the basic categorizations of Illusionary.. These Categories greatly informed the conceptual and aesthetic foundation and were fused with a graphic design aesthetic heavy in Minimalistic Forms and Illuminated Fractal Geometry..
This direction was then placed into a projection-based Physical Installation, where all the ‘magic’ was captured live and in-camera, filmed documentary-style with no post effects or treatment to make it feel authentic and real… In essence the immense technology behind the curtain being completely masked from the viewer by the methods used to capture the performance.
The scope and diversity of visual effects work in the final film of the Hobbit trilogy was astounding. The integrated fx simulations produced for the destruction of Lake-town and new virtual stage tools developed to bring the epic CG battle sequences to life are notable highlights. See how it all came together in this behind the scenes look at the ‘The Hobbit: The Battle of the Five Armies’.
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 f**kload of graphic content…
Wanderers is a vision of humanity’s expansion into the Solar System, based on scientific ideas and concepts of what our future in space might look like, if it ever happens. The locations depicted in the film are digital recreations of actual places in the Solar System, built from real photos and map data where available.
Without any apparent story, other than what you may fill in by yourself, the idea of the film is primarily to show a glimpse of the fantastic and beautiful nature that surrounds us on our neighboring worlds – and above all, how it might appear to us if we were there.
Originally, “Inside Out” was just this piano and vocal song, which was great, but I wanted it to have a little bit more to it and not just be some kind of silly ballad. I said to Jim, “Why don’t we do it like a Dr. Dre song?” I was obsessed with Dr. Dre’s 2001 album and I wanted to do something like that. 2001 is a great-sounding record. There are so many great tunes on it. It’s got a hell of an attitude.