OBLIVION GFX April 2013 ––





Working with Broseph K always brings out the best in Munk and Company, and this time around was certainly no exception. The mighty Joseph Kosinski invited munkowitz to the GFX party once again, this time for his spring blockbuster feature film JOE-BLIVION . Predictably, the list of graphic assets to be created was obscene, so munko assembled and led another super team of GFX mercenaries and descended into the lovely confines of Crater Lake Productions to generate the aforementioned fuckload of graphic content for the film.Working with Broseph K always brings out the best in Munk and Company, and this time around was certainly no exception. OBLIVION Copyright Universal Pictures, Inc.

GFX Process Montage –– 01

GFX Methodology

–– 02 The briefing for the Graphic Language stressed functionality and minimalism while utilizing a bright, unified color palette that would appear equally well on both a dark or bright backdrop. The function was to reflect the modernized sensibilities of the TET Mainframe computer and would assist the characters with the key components of their duties on earth; be it the monitoring of all Vitals on the ground using Vika's Light Table, or the various diagnostics in the air using the Jack's Bubbleship.



For good measure, the team also designed and animated all of the HUD UI for the various machines and weaponry in the film cuz they could, establishing a consistent graphic language that rendered all the interfaces with a loverly cohesion rarely seen in them massive-budget Sci-Fi productions. –– 02

Light Table UI –– 03 One of the most widely seen Graphic elements was Vika's Light Table, which allowed her to guide Jack Harper through his tasks as a Drone repair man in the field of duty. The table itself was built practically, so most of the visuals were captured in-camera, lending a beautiful optical touch to the design (thx Joe & Claudio). The table consisted of four screens: A main map that Vika used to monitor the Bubbleship, Drone, and Scav positioning, a Drone Monitor which tracked all their key vitals and fuel status, A Hydro Rig monitor that displayed the collection progress for the large resource gatherers over the ocean, and finally a Weather Screen which showed the Tet's online status and also key vitals of the ever-changing weather systems.



A couple extra tasks had the team designing another Map Diagnostic screen on a milky-white breakfast table top and a few key standalone windows that were analyzing Rogue Signal feeds that were key story points in the arc of the film. –– 03

Bubbleship UI

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Of course the team didn't want to fuck up Simon's baby with ugly UI, the German wrath was implanted deep within and ultimately, the Bubbleship UI was by far the most researched and pampered graphic task. Jack's helicopter, a remarkable Daniel Simon creation called the Bubbleship, was Jack's paramount vehicle in the film. The UI appeared as a hologram embedded within the spherical glass cockpit, done to perfection by the lovely folks at Pixomondo , and functioned to assist Jack in his flight and combat duties throughout the film. The team researched a grip of Flight simulator and Helicopter Combat interfaces and sought to modernize the aesthetic while still delivering key functionality that would mimic real-world flight tools.Of course the team didn't want to fuck up Simon's baby with ugly UI, the German wrath was implanted deep within and ultimately, the Bubbleship UI was by far the most researched and pampered graphic task.

Drone and Scope UI

–– 05 The team also designed all of the Machinery HUDs and various Gauges in the film, be it the Drone Machine Vision, Jack's Gun HUD, all the Scav equipment and some of Jack's smaller vehicles. The interfaces again stressed functionality over excess, keeping the Greeble under control and communicating key story points throughout the film.



All of these graphic elements were ingested by the VFX Vendors and ultimately integrated seamlessly into the live-action plates; many thanks mighty peoples.