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The 2022 Emmy nominees for main title design are Hulu’s Candy and Only Murders in the Building; Netflix’s Cowboy Bebop; and Apple TV+’s Foundation, Lisey’s Story, Pachinko and Severance.
Here’s how the main titles design category has looked between 2002 and 2021:
Winners by Genre
TV Academy voters strongly favor drama series, which earned the vast majority of nominations and wins in the past two decades
Victory, Multiplied Game of Thrones opening titles
The category’s rules stipulate that titles for a program not in its first season must be substantially changed (at least 75 percent different) to be eligible. HBO’s Game of Thrones is the only series to win twice for main title design, for its first season in 2011 and its final season in 2019.
Emmys’ Top Designers
These creatives boast multiple Emmys to their name for their dramatic title sequences.
The 2022 Emmy nominees for main title design are Hulu’s Candy and Only Murders in the Building; Netflix’s Cowboy Bebop; and Apple TV+’s Foundation, Lisey’s Story, Pachinko and Severance.
Here’s how the main titles design category has looked between 2002 and 2021:
Winners by Genre
TV Academy voters strongly favor drama series, which earned the vast majority of nominations and wins in the past two decades
Victory, Multiplied Game of Thrones opening titles
The category’s rules stipulate that titles for a program not in its first season must be substantially changed (at least 75 percent different) to be eligible. HBO’s Game of Thrones is the only series to win twice for main title design, for its first season in 2011 and its final season in 2019.
Emmys’ Top Designers
These creatives boast multiple Emmys to their name for their dramatic title sequences.
- 9/4/2022
- by Kelsey Stefanson
- The Hollywood Reporter - Movie News
As any TV viewer knows, there is nothing quite like a good main title sequence. Some shows work fine without them, but it never hurts to set a story’s mood with a well-edited arrangement of eye-catching graphics. If the design is good enough to make watchers refuse to hit or even forget about the “skip intro” button, it deserves recognition, and that is exactly what the Best Main Title Design Emmy category is for.
Four of the seven shows currently nominated for their title sequences – “Foundation,” “Lisey’s Story,” “Pachinko” and “Severance” – are Apple TV+ originals. Also included in the 2022 lineup are Hulu’s “Candy” and “Only Murders in the Building” and Netflix’s “Cowboy Bebop.” To discern which opener will most likely win the TV academy’s favor, let’s take a look at each of them individually. Be sure to make your Emmy predictions in this and 26 other...
Four of the seven shows currently nominated for their title sequences – “Foundation,” “Lisey’s Story,” “Pachinko” and “Severance” – are Apple TV+ originals. Also included in the 2022 lineup are Hulu’s “Candy” and “Only Murders in the Building” and Netflix’s “Cowboy Bebop.” To discern which opener will most likely win the TV academy’s favor, let’s take a look at each of them individually. Be sure to make your Emmy predictions in this and 26 other...
- 8/27/2022
- by Matthew Stewart
- Gold Derby
“Supervillain: The Making of Tekashi 6ix9ine” has its share of surprises. Karam Gill’s three-part series charts the perpetual rise and fall of one of the music world’s largest antagonists, the process by which Brooklyn-born and -raised Daniel Hernandez slowly transformed himself into rapper and social media archenemy Tekashi 6ix9ine.
Amidst the blend of interviews and archival footage, each episode takes a few well-timed journeys into a dreamlike abstract void. Dubbed in onscreen text as “Elements of a Supervillain,” each of these interstitials takes a part of the Tekashi lore and brings it to an artistic operating table of sorts. With a synthetic Tekashi figure in the center of the frame, disembodied white-gloved hands manipulate and style him as part of a hypnotic, sometimes nightmareish makeover.
“Karam said, ‘Think “Apple meets Kanye’s house.”‘ And I think that was deliberately to contrast with the gritty nature of doing found footage documentary.
Amidst the blend of interviews and archival footage, each episode takes a few well-timed journeys into a dreamlike abstract void. Dubbed in onscreen text as “Elements of a Supervillain,” each of these interstitials takes a part of the Tekashi lore and brings it to an artistic operating table of sorts. With a synthetic Tekashi figure in the center of the frame, disembodied white-gloved hands manipulate and style him as part of a hypnotic, sometimes nightmareish makeover.
“Karam said, ‘Think “Apple meets Kanye’s house.”‘ And I think that was deliberately to contrast with the gritty nature of doing found footage documentary.
- 3/7/2021
- by Steve Greene
- Indiewire
Chris Longo May 3, 2019
From Boardwalk Empire to South Park and Lost in Space, we look at iconic title sequences with one of the best in the biz.
It can be hard at a major film festival to look beyond awards frontrunners or indie darlings. However, if you’re looking in the right places, a film festival can feel like a celebration of all aspects of the industry. While we spoke to the directors and casts of some of SXSW’s most buzzworthy films, one of the longest and most enjoyable conversations we had at the festival was with Karin Fong, an award-winning graphic designer and director known for creating opening title sequences for some of Hollywood’s biggest projects.
Fong, who was a founding member of the visual storytelling studio Imaginary Forces, won an Emmy in 2018 for her work on the opening title sequence for the Starz series Counterpart. Her...
From Boardwalk Empire to South Park and Lost in Space, we look at iconic title sequences with one of the best in the biz.
It can be hard at a major film festival to look beyond awards frontrunners or indie darlings. However, if you’re looking in the right places, a film festival can feel like a celebration of all aspects of the industry. While we spoke to the directors and casts of some of SXSW’s most buzzworthy films, one of the longest and most enjoyable conversations we had at the festival was with Karin Fong, an award-winning graphic designer and director known for creating opening title sequences for some of Hollywood’s biggest projects.
Fong, who was a founding member of the visual storytelling studio Imaginary Forces, won an Emmy in 2018 for her work on the opening title sequence for the Starz series Counterpart. Her...
- 5/3/2019
- Den of Geek
The so-called new Golden Age of Television has not only ushered in unprecedented production values for the small screen; it has spawned new frontiers for eye-catching opening credits sequences as shows aim to gain a quick edge on a growing number of rivals. And just like the showrunners who strive to keep these programs fresh season after season, the designers of the opening graphics must constantly raise their game to grab audiences at the outset of each airing.
Now, with the Creative Arts Emmys around the corner, the industry is curious to see which show will take this year’s trophy for main title design: The contenders are TNT’s “The Alienist,” Netflix’s “Altered Carbon” and “Glow,” Starz’s “Counterpart” and HBO’s “Westworld.”
Jake Ferguson, a digital designer Emmy-nominated this year for his work on “Counterpart,” says a title sequence is “hugely critical because it’s the first...
Now, with the Creative Arts Emmys around the corner, the industry is curious to see which show will take this year’s trophy for main title design: The contenders are TNT’s “The Alienist,” Netflix’s “Altered Carbon” and “Glow,” Starz’s “Counterpart” and HBO’s “Westworld.”
Jake Ferguson, a digital designer Emmy-nominated this year for his work on “Counterpart,” says a title sequence is “hugely critical because it’s the first...
- 9/6/2018
- by Calum Marsh
- Variety Film + TV
“Main Title Design” may not sound like the most glamorous Emmy award out there, or even as crucial an element as it is to a series. But while it’s often underrated, a show’s titles do all the heavy lifting right at the start, setting the tone and pace, and giving audiences a taste of what’s to come in terms of themes, characters, visual aesthetic and artistic ambition. It’s a tall order for such a short sequence, but when done right, it economically conveys all that and more, as evidenced by this year’s five Emmy nominees.
The Alienist (pictured above)
TNT
Combined with its pulsing, urgent score, the opening’s flickering montage quickly paints a vivid picture of late-1800s New York City. Gas lamps, the Statue of Liberty, ambitious bridges and buildings under construction all act as a backdrop to the crime-solving drama that follows.
The Alienist (pictured above)
TNT
Combined with its pulsing, urgent score, the opening’s flickering montage quickly paints a vivid picture of late-1800s New York City. Gas lamps, the Statue of Liberty, ambitious bridges and buildings under construction all act as a backdrop to the crime-solving drama that follows.
- 8/16/2018
- by Iain Blair
- Variety Film + TV
The 2018 Emmy nominees for Best Main Title Design once again prove that the opening credits sequence is not dead yet. The five nominees include TNT’s “The Alienist,” Netflix’s “Altered Carbon,” Starz’s “Counterpart,” Netflix’s “Glow” and HBO’s “Westworld.” These choices are inspired compared to other categories, which mostly comprise of shows nominated in their respective series categories. While we do have three such shows, “Westworld” (21 noms overall), “Glow” (10 noms) and “The Alienist” (6 noms), “Altered Carbon” has just one other nomination and this is the only nom for “Counterpart.”
Three of this year’s Emmy-nominated creative directors have won this category in the past: “The Alienist’s” Angus Wall, “Counterpart’s” Karin Fong (“Exxon Mobil Masterpiece Theatre’s American Collection” in 2001) and “Westworld’s” Patrick Clair. So what makes an Emmy-winning opening credits? Let’s take a closer look at all five nominated title sequences this year.
Three of this year’s Emmy-nominated creative directors have won this category in the past: “The Alienist’s” Angus Wall, “Counterpart’s” Karin Fong (“Exxon Mobil Masterpiece Theatre’s American Collection” in 2001) and “Westworld’s” Patrick Clair. So what makes an Emmy-winning opening credits? Let’s take a closer look at all five nominated title sequences this year.
- 7/31/2018
- by Kevin Jacobsen
- Gold Derby
Juried prizes were presented tonight at the 25th annual Swsw Film Festival. Jim Gaffigan, in Austin to represent the Miranda Bailey-directed ensemble comedy “You Can Choose Your Family,” presided as host. The venue was the Paramount Theatre, a 103-year-old landmark just blocks from the Texas Capitol.
SXSW will continue screening films through Saturday, when most of the festival’s audience awards recipients will be announced. The exception is for the headlining films, such as “A Quiet Place,” “Blockers,” and “Ready Player One” — those verdicts follows on March 19.
This year’s line-up comprised 256 total features and shorts, culled from 8,183 submissions. Best narrative feature “Thunder Road” was adapted from the namesake, one-take short that won a Grand Jury award at Sundance in 2016.
Lena Dunham’s “Tiny Furniture” (2010) and Destin Daniel Cretton’s “Short Term 12” (2013) are among the best-known past jury victors at SXSW. IndieWire’s Dana Harris helped choose the Louis Black “Lone Star” honoree,...
SXSW will continue screening films through Saturday, when most of the festival’s audience awards recipients will be announced. The exception is for the headlining films, such as “A Quiet Place,” “Blockers,” and “Ready Player One” — those verdicts follows on March 19.
This year’s line-up comprised 256 total features and shorts, culled from 8,183 submissions. Best narrative feature “Thunder Road” was adapted from the namesake, one-take short that won a Grand Jury award at Sundance in 2016.
Lena Dunham’s “Tiny Furniture” (2010) and Destin Daniel Cretton’s “Short Term 12” (2013) are among the best-known past jury victors at SXSW. IndieWire’s Dana Harris helped choose the Louis Black “Lone Star” honoree,...
- 3/14/2018
- by Jenna Marotta
- Indiewire
Following a tease earlier this week , Sony Playstation has revealed their Super Bowl spot for the upcoming God of War: Ascension . Check it out below alongside the official press release from Imaginary Forces and an official still! What drives a warrior to relentless brutality? Deceived into murdering his beloved wife and child by Ares, the brutal warrior Kratos of Sony.s .God of War. video game series, has endlessly sought to avenge the unthinkable deed he was tricked into committing. Imaginary Forces director Karin Fong peers past the gruesome ferocity to uncover the genuine humanity and emotion brought on by this pivotal moment in the affecting 2:00 live action trailer .From Ashes. for the launch of Sony.s .God of War: Ascension. title, produced direct-to-client. This...
- 2/1/2013
- Comingsoon.net
I don't know about you, but I enjoy the hell out of a great title sequence! If they're good, they suck you right in to the movie or TV show you're about to watch. They're the first thing we see when the movie starts, and they basically set the mood and the tone for the rest of the film.
When I think of great movie title sequences, the first one that pops into my head is David Fincher's Se7en. That was the first title sequence I ever saw that just completely blew me away. There have been many other awesome title sequences since then, both old and new. But Se7en is burned into my brain. Here's a link to a few other aticles we've posted on title sequences.
Here's a great video from PBS’ Off Book that focuses on the art of the title sequence. It includes interviews with...
When I think of great movie title sequences, the first one that pops into my head is David Fincher's Se7en. That was the first title sequence I ever saw that just completely blew me away. There have been many other awesome title sequences since then, both old and new. But Se7en is burned into my brain. Here's a link to a few other aticles we've posted on title sequences.
Here's a great video from PBS’ Off Book that focuses on the art of the title sequence. It includes interviews with...
- 4/21/2012
- by Venkman
- GeekTyrant
As Dread Central's resident awards show junkie, I'm happy to report that while horror didn't make a super strong showing in this year's Emmy Awards nominations, it did make a respectable one. Read on for the full list of genre nominees, including a few that, while not pure horror, are definitely DC fan favorites.
For the full rundown of all the talented nominees, visit the Academy of Television Arts & Sciences, and be sure to watch the live broadcast of the 63rd Primetime Emmy Awards on Fox on Sunday, September 18th at 8:00 Pm Et/5:00 Pm Pt.
Outstanding Art Direction For A Single-Camera Series
"True Blood" • Beautifully Broken • It Hurts Me Too • Trouble • HBO • Your Face Goes Here Entertainment in association with HBO Entertainment
Suzuki Ingerslev, Production Designer
Cat Smith, Art Director
Laura Richarz, S.D.S.A., Set Decorator
Outstanding Casting For A Drama Series
"Game Of Thrones" • HBO • Bighead,...
For the full rundown of all the talented nominees, visit the Academy of Television Arts & Sciences, and be sure to watch the live broadcast of the 63rd Primetime Emmy Awards on Fox on Sunday, September 18th at 8:00 Pm Et/5:00 Pm Pt.
Outstanding Art Direction For A Single-Camera Series
"True Blood" • Beautifully Broken • It Hurts Me Too • Trouble • HBO • Your Face Goes Here Entertainment in association with HBO Entertainment
Suzuki Ingerslev, Production Designer
Cat Smith, Art Director
Laura Richarz, S.D.S.A., Set Decorator
Outstanding Casting For A Drama Series
"Game Of Thrones" • HBO • Bighead,...
- 7/15/2011
- by The Woman In Black
- DreadCentral.com
How do you create the opening credits for a beloved game franchise, telling a story in a unique way, but staying true to the franchise's roots? This is the topic I discussed with Karin Fong of Imaginary Forces during last week's Most Creative People in Business conference. And in this video, Fong recounts how her team created the opening sequence for the hit video game God of War III. "The game's director, Stig Asmussen, and the team at Sony Computer Entertainment really pushed us to create an aesthetic that would complement the highly-rendered world that makes up most of the game," said Fong. Here's how it came together:
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- 6/21/2010
- by Noah Robischon
- Fast Company
SXSW Film Announces 2010 Award Winners
Complete Coverage of SXSW 2010
Austin, Texas – March 16, 2010 – The Jury and Audience Award-winners of the South by Southwest (SXSW) Film Conference and Festival were announced tonight at the Festival’s closing Awards Ceremony hosted by comedian Eugene Mirman in Austin, Texas. Feature Films receiving Jury Awards were selected from the Narrative Feature and Documentary Feature categories. Films in these categories, as well as the Spotlight Premieres, Emerging Visions, Midnighters, Lone Star States and 24 Beats Per Second categories were also eligible for the 2010 SXSW Film Festival Audience Awards. Only Narrative and Documentary Feature Audience Awards were announced tonight. Spotlight Premieres, Emerging Visions, Lone Star States, 24 Beats Per Second and Midnighters Audience Awards will be announced separately on Monday, March 22.
SXSW also announced the Jury Award-winners in Shorts Filmmaking, and Film Design Awards, and Special Awards, including the SXSW Chicken & Egg Emergent Narrative Woman Director Award and the SXSW Wholphin Award.
Complete Coverage of SXSW 2010
Austin, Texas – March 16, 2010 – The Jury and Audience Award-winners of the South by Southwest (SXSW) Film Conference and Festival were announced tonight at the Festival’s closing Awards Ceremony hosted by comedian Eugene Mirman in Austin, Texas. Feature Films receiving Jury Awards were selected from the Narrative Feature and Documentary Feature categories. Films in these categories, as well as the Spotlight Premieres, Emerging Visions, Midnighters, Lone Star States and 24 Beats Per Second categories were also eligible for the 2010 SXSW Film Festival Audience Awards. Only Narrative and Documentary Feature Audience Awards were announced tonight. Spotlight Premieres, Emerging Visions, Lone Star States, 24 Beats Per Second and Midnighters Audience Awards will be announced separately on Monday, March 22.
SXSW also announced the Jury Award-winners in Shorts Filmmaking, and Film Design Awards, and Special Awards, including the SXSW Chicken & Egg Emergent Narrative Woman Director Award and the SXSW Wholphin Award.
- 3/18/2010
- by Jeff Bayer
- The Scorecard Review
Austin, Texas – March 16, 2010 – The Jury and Audience Award-winners of the South by Southwest (SXSW) Film Conference and Festival were announced tonight at the Festival’s closing Awards Ceremony hosted by comedian Eugene Mirman in Austin, Texas. Feature Films receiving Jury Awards were selected from the Narrative Feature and Documentary Feature categories. Films in these categories, as well as the Spotlight Premieres, Emerging Visions, Midnighters, Lone Star States and 24 Beats Per Second categories were also eligible for the 2010 SXSW Film Festival Audience Awards. Only Narrative and Documentary Feature Audience Awards were announced tonight. Spotlight Premieres, Emerging Visions, Lone Star States, 24 Beats Per Second and Midnighters Audience Awards will be announced separately on Monday, March 22. SXSW also announced the Jury Award-winners in Shorts Filmmaking, and Film Design Awards, and Special Awards, including the SXSW Chicken & Egg Emergent Narrative Woman Director Award and the SXSW Wholphin Award. Details can be found at www.
- 3/17/2010
- by Dave Campbell
- SmellsLikeScreenSpirit
Though SXSW 2010 is only at the halfway point, the music portion is about to kick into high gear and many film folks are leaving town. The awards ceremony was held last night, and Jeff Malmberg's Marwencol and Lena Dunham's Tiny Furniture won jury awards for best feature-length documentary and narrative, respectively.
Audience awards went to For Once in My Life (documentary) and Brotherhood (narrative). As if often the case, I haven't seen any of the winners, so can't comment further on them, but we do have a review for Marwencol up on the site, which is linked below.
Here's the announcement provided by the festival:
Austin, Texas - March 16, 2010 - The Jury and Audience Award-winners of the South by Southwest (SXSW) Film Conference and Festival were announced tonight at the Festival's closing Awards Ceremony hosted by comedian Eugene Mirman in Austin, Texas. Feature Films receiving Jury Awards were...
Audience awards went to For Once in My Life (documentary) and Brotherhood (narrative). As if often the case, I haven't seen any of the winners, so can't comment further on them, but we do have a review for Marwencol up on the site, which is linked below.
Here's the announcement provided by the festival:
Austin, Texas - March 16, 2010 - The Jury and Audience Award-winners of the South by Southwest (SXSW) Film Conference and Festival were announced tonight at the Festival's closing Awards Ceremony hosted by comedian Eugene Mirman in Austin, Texas. Feature Films receiving Jury Awards were...
- 3/17/2010
- Screen Anarchy
There was no better place to spend part of a Halloween afternoon than in the basement room of the Nature Lab at Risd, a wonderful collection of flora and fauna specimens--most dead, some alive--made available for study at the Rhode Island School of Design. And in its corner stands a true cabinet of curiosities...an old library card catalog named Tiny Town.
Tiny Town is organized and filled with teeny samples, all kept in identical plastic boxes. There's one drawer just for spider parts, and another for minerals (including a box of ashes from Mount St. Helens). The categories are broad--Animalia:Insects may have anything from a dried beetle to unidentified long limbs. Glass slides that show cross sections of an eyeball or heart muscle can be viewed under a microscope. Little handwritten and manually typed labels meticulously catalogue each specimen, many of which date back decades.
Part of the experience...
Tiny Town is organized and filled with teeny samples, all kept in identical plastic boxes. There's one drawer just for spider parts, and another for minerals (including a box of ashes from Mount St. Helens). The categories are broad--Animalia:Insects may have anything from a dried beetle to unidentified long limbs. Glass slides that show cross sections of an eyeball or heart muscle can be viewed under a microscope. Little handwritten and manually typed labels meticulously catalogue each specimen, many of which date back decades.
Part of the experience...
- 11/2/2009
- by Karin Fong
- Fast Company
People often ask me if I collect anything. I do, but it's not a tangible collection the way a collection of toy figurines, or Swiss posters, or snowglobes would. I "collect" words that aren't translatable in English. Not just unusual words, but words that are don't have an equivalent in English, for these show us where the holes are in our thought patterns. The classic example used to illustrate this kind of word is the German word schadenfreude, which means "the happiness felt at another's misfortune." As a personal project, I create flashcards to depict these strange species that live outside our language.
Another word with a similar spirit would be mokita, New Guinea for "the truth everyone knows but nobody says."
Many of these words are useful concepts that take a closer look at what is valued and beautiful, which are helpful in rethinking how we live and design.
Another word with a similar spirit would be mokita, New Guinea for "the truth everyone knows but nobody says."
Many of these words are useful concepts that take a closer look at what is valued and beautiful, which are helpful in rethinking how we live and design.
- 9/18/2009
- by Karin Fong
- Fast Company
Have a spare moment? Here's a selection of favorite books that explore the idea of crossing transitional space, each with its own take on what lies in-between...
1. Understanding Comics by Scott McCloudAn entertaining analysis of how comics work, in comic book form. Scott McCloud dissects just how a comic artist gets the reader to experience time and space in a flat, "still" medium. I particularly enjoy his explanations about what happens in between the panels. That's were he says the unique power of comics lies.
2. The Dot and the Line: A Romance in Lower Mathematics by Norton Juster A witty picture book that tells a love story between two characters from different mathematical states. Double entendres abound. Especially like the modernist, mixed-media illustrations. It is also an Academy Award-winning animated short film, animated by Chuck Jones.
3. Flatland: A Romance of Many Directions by Edwin A. AbbottWritten in 1884, it's the great...
1. Understanding Comics by Scott McCloudAn entertaining analysis of how comics work, in comic book form. Scott McCloud dissects just how a comic artist gets the reader to experience time and space in a flat, "still" medium. I particularly enjoy his explanations about what happens in between the panels. That's were he says the unique power of comics lies.
2. The Dot and the Line: A Romance in Lower Mathematics by Norton Juster A witty picture book that tells a love story between two characters from different mathematical states. Double entendres abound. Especially like the modernist, mixed-media illustrations. It is also an Academy Award-winning animated short film, animated by Chuck Jones.
3. Flatland: A Romance of Many Directions by Edwin A. AbbottWritten in 1884, it's the great...
- 9/16/2009
- by Karin Fong
- Fast Company
I figured I needed a theme for this blog. So I started kicking around the idea of exploring the "in-between space"--an area that has always interested me.
In animation, in-betweening refers to adding the frames between two images so that the movement appears smoother. The in-betweens are key in creating the illusion of motion. They are the blend between one state and another.
There's another term that's loosely used to talk about existing between different dimensions: "Two-and-a-Half D" (I originally was going to call this blog that--2.5 D--before self-consciously thinking that it looked too much like a bra size). Two-and-a-Half-d refers to an effect that plays with planes placed within a space. The parallax, lighting changes, and other cues that result from the movement make the flat visuals live in a world with depth. You might recall this technique in the animated sequences for The Kid Stays in the Picture.
In animation, in-betweening refers to adding the frames between two images so that the movement appears smoother. The in-betweens are key in creating the illusion of motion. They are the blend between one state and another.
There's another term that's loosely used to talk about existing between different dimensions: "Two-and-a-Half D" (I originally was going to call this blog that--2.5 D--before self-consciously thinking that it looked too much like a bra size). Two-and-a-Half-d refers to an effect that plays with planes placed within a space. The parallax, lighting changes, and other cues that result from the movement make the flat visuals live in a world with depth. You might recall this technique in the animated sequences for The Kid Stays in the Picture.
- 9/15/2009
- by Karin Fong
- Fast Company
A few years ago I headed to Vegas with the express purpose of visiting Steve Wynn's new hotel and casino, The Wynn. I'd read plenty about the classy decor (including surprisingly non-cheesy carpet patterns), but I was most intrigued by its outdoor theater called the Lake of Dreams. Taking our seats at a bar on the shores of a pretty-enough manmade lake, we steeled ourselves for that awful/awesome blend of Vegas "entertainment." But instead of a drag-queen pirate swooping onto the scene, to our pleasant surprise the lake began bubbling to a beat, dancing with choreographed lights like an underwater disco. And then a head--yes, a 25-foot head!--emerged from the water, its "face" a projected, lip-syncing pastiche of stop-motion, claymation, and stunning makeup artistry, singing to the head-bobbing hit by Yello, "Oh Yeah." This blend of film, graphic design, animation and live-action drama reflecting on this lake-theater...
- 9/15/2009
- by Alissa Walker
- Fast Company
In an exclusive video created for Fast Company, Karin Fong (number 88 on our Most Creative People list) and her team at Imaginary Forces put together a behind the scenes look at the creation of the "Machine Vision" used in the film Terminator Salvation. To render believable images of how a robot might see in the year 2018, a combination of military and Nasa technology was employed, including a relative of the Mars Rover's optical system called the Bumblebee.
Related: Complete coverage of Terminator Salvation...
Related: Complete coverage of Terminator Salvation...
- 6/15/2009
- by Mark Borden
- Fast Company
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