12/18/2022 0 Comments Cosmos a spacetime odyssey 2014Once we had those frames together and were able to get the temperature test from the client based on those, we were able to kind of start to get to a place that actually made sense. We kept brainstorming and it kept growing and changing. Parts of the boards were very well received by the client, while other ones were not. Felipe is an artist that we work with quite a bit and his frames really started to help us. There were so many concepts that we had to figure out how to tone it down into something tangible. Let's talk about the first set of boards and the direction you went.Ībsolutely. Original “mood edit” for the open title sequence We explored montage or collage-like approaches to build mood and excitement in a more abstract way. Bringing the viewer through a history lesson of sorts to current time and then try to inspire the current youth to continue exploring. We explored linear approaches dealing with historical feats of human nature and discovery, leading to what we know now to be cutting edge space-time concepts. Some of the general concepts that we looked at were knowledge of self, exploration of all types, time perception, inner space, outer space, supernovas, biology, evolution, human development of tools to allow exploration, and on and on. With everything in the cosmos being a potential concept, we went through many variations! We had some great brainstorming discussions and research sessions. We were really on our own to figure out how to weave these concepts together into something that would reveal the logo, and pay homage to the Cosmos legacy. We discussed some general concepts that would be covered in the show, but were given almost zero directives as to what concepts we should explore. She was also the creator/producer/writer of the follow-up, Cosmos: A Spacetime Odyssey. She was a co-writer of the 1980 PBS documentary series Cosmos, hosted by the late Carl Sagan, whom she married in 1981. * Ann Druyan is an American author and producer specializing in productions about cosmology and popular science. We sat down with Ann Druyan and some others from the team but little did we know we would be given the most daunting creative outline that we had ever heard – “The universe is your palette.” Fox haven't done a long, 1 minute 30 second open in many, many years. So it was just going to be some sort of reveal – a logo reveal with the eye. Originally that opening sequence was only supposed to be like 15 seconds. We were then invited to discuss how we might work together on developing a logo reveal for the show. We weren't able to complete that content portion of the show due to budgetary reasons, but they came back to us and had kind of fallen in love with the image of the eye-nebula. We had worked on some storyboards for some of the show content, based on a script about the importance of photosensitivity and how it was responsible for much of our evolution.ĭuring that initial phase we developed some images that would ultimately become the eye-nebula, which became the main branding image for the show. The video was going to show an eye actually being formed. Initially, they approached us with an idea of a split-screen type of thing, to show what the eye would see as it evolved, but we decided to go with more of a graphic, abstract approach. What was the first client meeting about this sequence like? We have always worked well together and when Pete suggested we head up the design arm of Big Block we jumped at the opportunity. Shaun and I have worked together many times in the past, first cutting our teeth at Shilo in San Diego. We are a part of Big Block, most known for finishing, VFX, and car commercial work.Įxecutive Director Pete King brought us aboard with the intent of developing a design-focused division for the company, and Shaun Collings and I have been part of that for the past two years. Give us a little background on Big Block Design Group. From the microscopic building blocks of life all the way to a distant galaxy in the furthest reaches of outer space, this fantastic main title journey is only made possible thanks to seamless VFX transitions so perfect that they rival the best Hollywood films.Ī discussion with Creative Director CURTIS DOSS of Big Block Design Group. With the incredible advances in science and technology over the last 34 years, the "ship of the imagination" (this time piloted by astrophysicist Neil deGrasse Tyson) can now travel through time and space. Big Block Design Group take us on the grandest journey imaginable with their beautifully designed opening sequence for Cosmos: A Spacetime Odyssey, the sequel to Carl Sagan’s landmark 1980 documentary series Cosmos: A Personal Voyage.
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