We have had the pleasure of working on over 100 films + episodic, including over twenty Sundance films, and multiple Oscar, BAFTA and Emmy winning films.
Explore our house reels below, followed by select examples of our work
TITLES REEL
We’ve won + been nominated with both BAFTA + SXSW Film Festival for our title designs. And our Creative Director Allison has been listed as top ten Women in Title Design with Art of Title. From the eclectic, to the subtle – we love to dive deep into creating film specific titles which echo the film’s core sentiments.
ANIMATION REEL
We’ve worked on both fully animated films and animation sequences within films. Ranging from nostalgic 3D dream sequence of CNN‘s Rock Hudson to the hand illustrated courtroom paintings of Showtime‘s Detainee. Our approach is story led, discovering and executing an animation style which works to elevate the narrative.
SOCIAL MEDIA REEL
Social media sequences are often informative, progressional narrative points where well paced energy within the sequence can create a powerful momentum. They can also be a lot of fun, such as our work on Apple‘s ‘Twas the Fight Before Christmas.
USER INTERFACE REEL
Screens, desktops, UI, online – the inclusion of sequences within films which require period specific graphics and animation are on the rise – and fortunately for us we love to geek out about these things!
NEWSPAPERS + DOCUMENTS REEL
We are always interested in exploring concepts and techniques which allow for these assets to sit seamlessly within the film. We also explore possibilities between tactile archival newspapers and documents, to online assets – and the possibilities that arise within each. Alex Gibney‘s Citizen K drew from an energetic device inspired approach, whereas Netflix‘s FIFA Uncovered was more key informational.
TIMELINES + MAPS REEL
We understand that grounding the viewer in time and space can sometimes be an imperative function of the narrative. We also appreciate that they can be seen as a necessary evil by some film makers! We love a challenge, and get a little too excited about digging in to explore how we can employ these devices within the film without it feeling like a graphical intrusion. From the effortless live action gliding functionality of BBC‘s Football’s Darkest Secret to the rudimentary old desktop based maps of Oscar award winning Navalny.
