I think when the project is this big there is an expectation that you’ll be replacing a lot of the screens as the project evolves.įor the Mnemosyne ship, it was important to retain continuity with previous hovercrafts, in terms of what a screen’s function was, and we looked at all of the screen designs from the Neberkenezer and picked out key repeating elements so we could show this was an evolution rather than a redesign. We spoke with Dan Glass a few times in pre-production and the aim was for us to give him as little as possible to do in post. We were given some references and had countless discussions with Production Designers (PD) Peter Walpole and Hugh Bateup about how the graphics needed to look and what story they needed to tell, in a way that made sense in the Matrix world. Within that, we had a lot of freedom to come up with a vision for how we felt the graphics best supported the story. The only element that was off limits was the classic dripping code which we were more than happy to work with. Sam Jones: In terms of overall direction, the Art Department and Director Lana (Wachowski) entrusted us to reimagine the visual language of the Matrix universe technology which is set 60 years into Neo’s future. It became a fully integrated project, with Compuhire on playback and Studio C the graphic leads, crafting and delivering over 100 graphic UI and content assets across over 20 sets, plus a few additional in post.ī&a: For the imagery seen in the cockpit of the Mnemosyne, what was the overall direction Lana and Dan Glass had for the look and feel of these screen graphics and UI? When the opportunity to pitch for Resurrections came to us, our work with Production Designers Peter Walpole and Hugh Bateup on previous Wachowski projects ( Sense 8, Jupiter Ascending) and graphic credits meant that a lot of trust was already there.
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