The kind of THRIVE that we enjoy sharing here on ABDZ, this is direction and motion design work by Unit Motion Design, a creative motion studio based in Paris, France.
The mighty Bradley G Munkowitz has shared a tremendous project on his Behance and it was the work has done for the Kin Movie that I have yet seen but will do right after this article. The movie plot is surrounded by a mysterious weapon and we are focusing on the design work of the epic Rifle Scope the main character finds during the film. The result is marvelous as you may imagine, it renders a set of holographic forms and UI inspired by real-world gun scopes and war systems. Give it a closer look!
In late 2017, The uber-talented directing duo of Jonathan and Josh Baker called their old Motion Design homie Mr. Munkowitz to help them dream up some Holograms and HUDs for their first feature film KIN – specifically focusing on designing an epic Rifle Scope the main character Eli Solinski finds and uses throughout the film. So logically Munky called up his UI+Techy Shitbusiness partners in Toros Kose and Nicolas Lopardo and they got down and always dirty.
Their approach was to stress beauty and functionality – to render a set of holographic forms and UI inspired by real-world gun scopes and war systems that all had specific functionality. Obviously, as an augmentation of reality in a Science Fiction film, great liberties were taken to push into the Metaphysical, but believe you me – these boys put in the research and had a total blast dreaming up what a holographic rifle scope from the future’s future could be.
Holographic Rifle Scope
Their approach for the rifle scope was to create detail in clusters – and allow negative space down the volume of the weapon for openness and visual reprieve. They thoroughly considered and researched classic gun scopes and weaved that vernacular into the graphic forms they were creating – adopting classic markings and bringing into a more modernized design language.
The rifle had a few different modes defined by various hero tones, and also their formation. For example, the most agressive mode was marked by warm tones, more scopes and advanced targeting; as well as intense metering on the side of the weapon. Whereas the most standard mode was more minimal, subdued and didn’t have the advanced targeting capabilities – and more relaxed tonality. All of the design sought to further the narrative and provided an intricate and vibrant storytelling device in the film.
Another task for the team was to design a Helmet HUD from an advanced future humanity – so it was an opportunity to go ornate and multi-layered in their execution. They wanted to the HUD to occupy a volume, to wrap around the camera to feel immersive and rich with texture – and designed a multitude of modes and functionalities that were key story points in the film. Yes, it may look like a lot of greeble, and yes that’s always a fallback with this group – they do love their sublime detail.
In the film’s climax and one of the final scenes, there’s an awesome frozen hologram of paralyzed characters suspended in mid-air and consisting of holographic data points. The team was elated to have contributed to such a fresh visual effect by doing a ton of visual research for the key moment in the film. They also conceived some internal markings and tribal symbolism; a bionic hypodermis of sorts – and gave a ton of time shining flashlights through their hands for vital research and discovery – we love it.
- Design Director GMUNK INCORPORATED for The Baker Brothers
- Holographics Design Lead: Bradley G Munkowitz
- Holographics Designer: Toros Kose
- Holographics Designer: Nicolas Lopardo
- Directors: Jonathan and Josh Baker
- Visual Effects: Image Engine
- VFX Supervisor: Dave Morley