Title: Guardians of the Galaxy
Clients: Marvel Studio
Services: Screen Graphics
Working closely with Director James Gunn and Production Designer Charles Wood, we created graphics and VFX for this laugh out loud story about a ragtag crew of misfit criminals who become unlikely heroes. We were tasked to create on screen graphics and vfx for all environments – spaceships, planets, prison, street markets, gambling dens, etc, and as a story that’s more about characters and personalities than drama, we were able to take a more human, less polished creative approach to graphics.We felt a strong sense of connection with Gunn's pithy and dry sense of humour, which really drives many of the humorous and quirky details that give this film such personality and humanness. And we had a lot of fun with the graphic concepts, borrowing references from classic 1980's style, from colours to computer games to enrich the visual texture and sense of nostalgia in the story. The variety and scale of environments proved challenging. We had to create distinct visual languages for each that reflected its species, language, culture and purpose. Given the many alien cultures in this film, it was a big task to create fonts and graphic styles that felt fresh and unique, but we relished the challenge and worked hard to imagine new forms of navigation, weapons, utility monitors, even entertainment interfaces. The on-set element meant that our work was incorporated into stage environments to help lend ambiance and authenticity, giving actors live screens to work with. In some complex shots, we reverse engineered a number of interactions with the on-set computer consoles, mapping to gestures in post.Read more
The evil Ronan’s ship, Dark Aster was monolithic in look and dark in tone. Our direction for the UI was something that felt uncomfortable and organic. We envisaged a holographic control interface, almost a life form, being controlled and manipulated against its will. We looked at jellyfish forms and translucency, and explored buttons and controls almost protruding through the skin. Controls changed and adapted as the user interacted, but the interface almost looked as though it was under stress as it was being manipulated. It was an incredible design challenge we had set ourselves and credit goes to MPC for final execution of our vision.
The Kyln Prison screens needed a degraded military look and feel, reflecting a pared down functional aesthetic. The screen elements, including tower schematics, etc, needed to help explain Rocket’s escape plan, so balancing plot point with visual simplicity was key.
In crafting the graphic assets for Exitar, the main city on Knowhere, our reference from UI art director Alan Payne was to really evoke the sense of being in Deep Deep Space. We considered the challenges of living on the edge of the universe, what the culture was like, and how street signage and advertisements would look. This pushed us to look at alien languages featured in old Marvel comics, experimental computer graphics from the 1960s and 70’s, the concept art, costume and props departments. Ultimately, we created a series of bespoke fonts to use throughout the set and we added glitches and interference to the neon-style graphics to make them feel authentic within this rough and ready, multicultural space port.
|Creative Director||David Sheldon-Hicks|
|Motion Designers||Peter Eszenyi, Nick Hill, Ryan Rafferty-Phelan, Marti Romances, Martin Aggerholm, Yugen Blake, Jay Dingle, Gabor Ekes, Ryan Jefferson Hays, David Penn, Alasdair Willson|
|Production Designer||Charles Wood|
|Set Decoration||Richard Roberts|
|Art Director||Alan Payne|
|VFX Supervisor||Stephane Ceretti|
|VFX Producer||Susan Pickett|
|Editors||Cristina Casanova, Marti Romances|
If you would like to talk to us about any upcoming projects
please get in touch using the details below: