Tag: UI

I collaborated with Cottage Industries and Mark Romanek to create a wide range of animated visuals in a narrow timeframe before a specific direction was chosen. The animated visuals were then shot in camera and played in sync to Joy Formidable’s live performance.

Big Cartel helps artists, musicians, and other craft-savvy entrepreneurs sell their goods online. To highlight the process that goes into each Big Cartel storefront, they approached me to help tell the story of building an online store from scratch.

With the 2012 London Summer Olympics just around the corner, I was approached by Mothership and director David Rosenbaum to throw down some data visualizations for some potential GE Olympic spots.

The chance to team back up with Joseph Kosinski came in a post-apocalyptic science fiction film calling for a high dose of screen graphics to help tell the story as drone repairman Jack Harper (Tom Cruise) and his partner Victoria (Andrea Riseborough) discover their identities.

Nike+ Fuelband needed a simple, clear and on brand visual system explaining the product experience in motion. I led a team as creative director at Wolf&Crow on the pitch and presented several visual directions to Nike’s Brand Innovation group.

Select logo mark explorations for Wolf&Crow.

Nike’s digital agency R/GA approached me back in December of 2010 to help flesh out concept and design development of the NikeFuel brand which launched in early 2012. In May of 2011, Nike’s Global Brand Innovation group got in touch for a quick jam session on some evolving ideas. This eventually led to quite a bit more work with the same group during my time as Creative Director at Wolf&Crow.

Soon after a visit to Animal Logic’s office in Sydney, an opportunity arose to work with their L.A. (Santa Monica) office on a triple spot campaign featuring Dwyane Wade for Nike’s BrandJordan.

Deep inside an undisclosed testing facility, a laptop’s inner beast is awakened in this spot for ASUS.

Although our small TRON: Legacy GFX Team was knee deep on other parts of the film, there was no passing up the opportunity to work on the opening sequence where a single graphic line ultimately transforms into a photoreal city, all in a single camera move.

The ENCOM Board Room projection screen and light table animated graphics posed a unique challenge. Unlike other sequences, these graphics had to work through live playback on set for capture in camera.

TRON Legacy’s disc game sequence needed a floating scoreboard and tablet interface to help keep track of the action. This was the first of nearly a years worth of animated graphics assignments working deep inside visual effects powerhouse Digital Domain.

Daft Punk’s cameo appearance in TRON: Legacy provided a rare treat to visualize a fully animated digital readout screen in perfect sync with the duo’s binary beats.

When you’ve authored the vast TRON universe, it only takes a couple deft code maneuvers for the likes of Kevin Flynn to avoid certain disaster. I led the animated graphics portion of both sequences with the masterful animation finesse of David Lewandowski on the elevator interface and solid animation support from Joseph Chan for the guard’s back and kiosk interfaces.

As Flynn and Sam take a ride on the Solar Sailer with unconscious Quorra, we pause from the action sequences to witness what our small but agile TRON GFX team were tasked to create from scratch – a series of beautiful organic layered surfaces that ultimately reveal Quorra’s isometric makeup down to her core DNA code.

The disc extraction scene inside CLU’s Rectifier Ship provided our graphics team the chance to visualize the intricate complexities of Flynn’s identity disc during extraction.

I was asked by the 3d team at Digital Domain to contribute look and animation concepts to help inform how the epic Portal Climax scene in the film would come to life.

Since I love the beautiful game and respect Nike’s commitment to the sport, I dived in and fleshed out these styleframes over the course of a fast and furious weekend to help Psyop win a pitch for a Nike Football Elite Pack video.

While working closely with Digital Domain on various commercial projects, I was given the challenge to design the logo/mark for a new sister company known as Mothership.

The creative brief behind this project in order to launch Comcast’s Xfinity service was essentially to invent/reinvent/create from scratch a never before seen world inside the internet. Easier said than done.

In this spot for Lincoln, I led the graphics portion of the spot that highlights the Ecoboost technology in several shots.

Discovery Channel approached me to concept and direct the open and close of a promo for a Discovery show called King Tut Unwrapped.

Asylum VFX brought me in to help develop the graphic language for the Skynet sequences in the feature film Terminator Salvation.

While the owner is away, the hi-tech gadgets will come out to play. Protected by the shroud of night and an empty house, a band of super advanced television components come together and take center stage to create their own stunning lightshow.

I worked with a small and talented team at Elastic on this hourglass concept for Lexus.

Fuel TV’s “Daily Habit” show wanted a fresh new look for their on-air graphics package.Since the show is mash-up of the wide world of action sports along with cutting-edge musical guests, I proposed a visual concept that centered around an electric blender. Bike wheels, skateboards, guitars, drumsticks, microphones and more all hang ten as they land in a Fuel TV blender ready for a healthy jolt of power before being poured out to reveal the show name. I worked on two other stylistic approaches and art directed the several concepts and looks that were presented to Fuel TV.

The creative brief was simple….go BOLD! The challenge was to visually communicate a louder, more vibrant and full-of-attitude reincarnation of CMT. I worked remotely on the pitch with former DK colleague and Eyeball creative director Jory Hull along with Michael Carpenter (straight outta Memphis) during the rebrand pitch. We cranked up the colors, the type, the illustrations and photography and had alot of fun going bold for CMT.

For this Comcast pitch with Psyop L.A., a series of clever and matter of fact jingles were the backbone for the visuals of this fun and energetic pitch phase.

Sci-Fi Channel tasked Eyeball NYC to transform and elevate their brand identity to a whole new realm based on the guiding principle of imagination. And to show they meant it, they even changed their name to Syfy.

Project Earth is a Discovery Channel series that takes a bold, aspirational approach to changing the world’s climate crisis through a series of ambitious experiments. I was comissioned by Eyeball NYC to create a series of styleframes that illustrated how small ideas can quickly become big ones that have the potential to change the planet.

This spot for the HP TouchSmart PC was one of the first projects to come out of the Psyop L.A. office. I worked closely with directors Todd Mueller and Kylie Matulick creating a series of styleframes built from a multitude of photographic elements.

The fine folks at Capacity brought me in to lead a pitch and develop a new level of sophistication both conceptually and visually to Sundance Channel’s on-air branding.

I collaborated with Vivian Rosenthal of TRONIC on this future driven concept for an interactive space powered by Microsoft.

This project for Zune through Digital Kitchen Seattle was a great overall experience. I was brought in to help define the branding and attitude of the “Raw Deluxe” aesthetic – showcasing the forms, textures and inspirations behind the latest generation of Zune devices.

This spot for NYC Tourism takes the viewer on a cab, subway and ferry ride through a colorful and surreal version of New York City seen through the eyes of a visiting family. I worked on the design, animation and compositing throughout various parts of the spot.

I only show this piece for the artful blend of code in motion with live action. It was also a great chance to better understand the process between the two. A lot of hard work went into this project.

This was the fifth and final HP “Hands” spot that I worked on at Motion Theory for Brazilian lyricist and novelist Paulo Coelho.

Visualize a journey through the mind and body of Canadian hockey superstar Sidney Crosby as he gears up for a game winning goal. That was the challenge Motion Theory received from Downtown Partners – Toronto for this epicly ambitious Gatorade ad. I worked on this spot for several months with an extremely talented team.

In this third installment of the successful HP “Hands” campaign, Mark Burnett – reality tv pioneer reveals what makes his computer…personal. Burnett uncovers a treasure trove of files on his computer – a map of personal wireless hotspots, animated set designs, a new show concept and dailies of footage in the jungle to name a few. I worked on the design, animation and compositing throughout various shots. And nope – I didn’t get to meet Mr. Burnett.

For Matisyahu’s hit single from the “Youth” album, personal photos, letters, and other personal artifacts recreate Jerusalem’s Western Wall. The wall draws people of all faiths and nationalities towards it, including Matisyahu himself for higher spiritual guidance. The video was a welcome break from graphics and visual effects and focused purely on the power of people’s photos and memories bathed in beautiful light. The photo/light wall was built and shot practically against a wet floor for textural light reflection. Fellow co-workers contributed personal photos to help fill the wall.

Hot off the heels of the Jay-Z HP “Hands” spot, Pharrell gets his moment to shine and show off what lives inside his computer.I worked on the design, animation and compositing throughout different parts of the spot – the afroninja clip and comments, Terry Kennedy rail slide, and end scrap shot.

Hot off the heels of the Jay-Z HP “Hands” spot, Pharrell gets his moment to shine and show off what lives inside his computer.I worked on the design, animation and compositing throughout different parts of the spot – the afroninja clip and comments, Terry Kennedy rail slide, and end scrap shot.

Master boarder Shaun White kicks off the enduring HP “Hands” campaign with his signature laid back style and humor. Dude is seriously living the dream. Since this was the first attempt at the “capture it all in one take” concept with tightly choreographed hand movements, a lot of research and development had to go down. There was a lot of initial brainstorming and motion tests to see what worked best and felt most natural. Mark Kudsi and I worked in close tandem on this project and enjoyed meeting Shaun at the shoot as he tore up the hand choreography just like he does a halfpipe. One of my favorite projects during my time at Motion Theory hands down.

While working at Digital Kitchen, I hoped to work on a show title project. They are rare gems in a sea of mostly commercial work. Luckily, my chance came. Through executive producer Bryan Singer, the opening titles for a new show on FOX called House M.D. was brought to DK. I focused on fleshing out the design, and 2D/3D animation for the various anatomy shots. Not knowing when my previous collection of radiology x-rays from hospitals would come in handy, I was excited to put them to use on the project which you can see in the process stills and video. The show has turned out to be quite a success and was nominated for a Primetime Emmy Award for Outstanding Main Title Design in 2005. A rare gem of a project indeed.

This short flip book was created for a letterpress class during my undergraduate studies. I’ve always liked mix and match visuals and decided monsters made out of type would be a fitting subject for this letterpress book.The project was a great chance to learn more about the letterpress printing process. After laying out the designs in illustrator, I shipped the artwork off to Owosso Graphic Arts in Michigan and received magnesium dies of all the artwork, ready for inking and printing on a heavy paperstock. I printed a very short run of about 10 books and then had them spiral bound.