Clients: Oliver Daly
Services: Film & Broadcast, Titles, VFX - Film
MILES is the story of a teenage dirt bike rider who stumbles upon M.A.X., an escaped prototype of the most advanced military creation in history. We were invited to the project to help design and animate M.A.X.’s view of the world through a HUD display, and create holographic controls and screen graphics, as well as end titles for the film.The biggest challenge was to find a unique concept for robot vision. By working closely with VFX Photographer Andrew Gant, we created the UI for M.A.X's visual field. The thinking and process is really indicative of how film making is developing using new technology to innovative in the VFX space, and it was fascinating to be part of such an experimental team. The end title concept is a montage that weaves together the iconography, programming code and elements from the user interfaces we developed to visualise how the scientist was programming monitoring, and manipulating M.A.X. Devised to remind the audience that M.A.X is a machine intelligence, the montage alludes to the experimental, lab-like nature of the project.Read more
Territory's cutting-edge visual style speaks for itself, but what makes working with this group of artists so special is their deep understanding of story and subtext. Each time I revisit the work Territory did on my film, I always find something new to admire. The shots are packed with technical wizardry and science, but the end result is emotional, gripping, immersive, and surprising.
To create the robot’s vision in MILES, a system called the DepthKit was used on set, enabling the production to film actors, objects—and even live motocross racers—and instantly capture 3d data. For each frame of film we had a 3d sculpt that had all the imperfections built in of a 3d sensor, helping us reflect the nature of a machines view of the world in realtime.
A combination of motion tracking 3d holographic controls and screens comped in VFX, Territory took references from surveillance systems as well as machine vision such as military drones to base the look of the designs.
Shot in house at Territory, using close up shots of the UI used throughout the movie as a summation of the human/machine interface throughout the film.
With a strong vision of what he needed, Oliver gave us enough freedom to really innovate, and he was open to being challenged, but equally challenged back. I think due to the relatively small scale of team, we were all able to take risks and experiment, something that's not always easy on a big production.
|Creative Director||David Sheldon-Hicks|
|UI Motion Designers||Peter Eszenyi, Ryan Rafferty-Phelan, Yugen Blake, Corey Bramal, Jay Dingle, Sam Keehan, Ian Sargent|
|End Titles||Nik 'nikill' Hill|
|Starring||Alexa Demie & Robby Rasmussen|
|Producers||Adam P. Schneider & Meagan Judkins|
|Executive Producer||Luke Gilford|
|VFX Photographer||Andrew Gant|
|James George and Alexander Porter|
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