During pre-production phase of the film we supplied the production with a large number of concept designs for everything ranging from screen designs for the various IMF members through to logo designs for the IMF team. Later, during filming in Sydney I was based at Bionic Digital in London, supervising a team of animators and programmers – it was our job to provide the production in Sydney with all playback graphics that were require on set. Finally, in September ’99 I went down to Sydney to help wrap things up, when it was decided that the production would require more time and would continue filming in Los Angeles.
It was during this period that we decided to set up an LA subsidiary of Bionic, which is where we generated the graphics for the production’s post production phase – these included a concept Motorola phone interface, additional screens for compositing and a large number of rangefinder POVs. We literally worked until just a few days before the premiere on May 18, 2000.
After the release of the film I became involved in the design of DVD-Rom content for the DVD release of the film – this was through 1K Studios in Los Angeles.
The briefing – needless to say, we were very excited to find out that we were to supply the design and animation for the famous briefing, in this case being presented in a pair of sunglasses. Peter Menich came up with the original concept which was approved by Cruise and then developed and animated by myself. The final clip was supplied at 2k film resolution for compositing.
Randwick Racetrack – as this clip shows, not all playback graphics are featured on computers – some are as mundane as these graphics which show the odds for upcoming races.
Transponder Watch – I got to design a number of gadget interfaces on the film, including this watch interface. Others were a digital camera interface and an interface for a concept phone by Motorola.
The Plan – This was another exciting part of the film to be working on – the plan. We were lucky that the scriptwriters had decided to tell the story via a computer-assisted briefing. The sequence was designed and animated by myself and Peter Menich. Playback took place on a laptop and on a heavy-duty projector, shoe-horned into a Perlican case. To stop it from overheating we had to pump cooled air into the housing between takes.
McCloy scan – This clip illustrates the different types of animations we delivered – we see playback graphics running live on the laptops, post production graphics in the form of the rangefinder POVs and again post production graphics for the close-ups of the laptop screens.
Planting Nyah – Again this clip illustrates the different delivery systems for the graphics. Here we have live playback on the IMF and Ambrose laptops and then post production graphics for the extreme closeup on the Ambrose laptop.
Client: Paramount Pictures
Roles: CG supervisor & co-ordinator, graphic design & animation
delivered: Concept designs, playback graphics & post production graphics