“A lot of these were actually less around the design of things and more about humour. “As the director, Ben Stiller would have regular cineSync sessions with us to provide feedback,” details Sheldon-Hicks. The graphics needed to look good, but the timing of visual jokes was just as important. It’s here that Territory was able to stretch its funny bone alongside its high-end design skillset.Īlthough Territory worked on a number of sequences, the epilogue was the team’s big set-piece: a visual summation of what happens to the characters post-film, created using a montage of magazine covers and other editorial features. It’s features like that which make cineSync invaluable to us.”Īnother project in which cineSync proved vital was the tongue-in-cheek epilogue to Zoolander 2.
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What’s more, we can save that information to share with artists at a later date, giving direct, clear feedback on a specific shot even if they weren’t in that original meeting. “We can hear the director making comments while drawing on the video, just as though they’re in the room with us. “It’s here that the ability to draw on frames in cineSync proved incredibly helpful,” he adds. We’d get deeply into these notes on a cineSync session to make sure each moment on our screens worked visually and narratively. “Stephane had a great eye for design and knew that our work needed to be bold enough to work for wide shots, but detailed enough to look good on a close-up. “On Guardians of the Galaxy we worked closely with VFX supervisor Stephane Ceretti to fine-tune details on the Milano spaceship,” says Sheldon-Hicks. Work on the Marvel Cinematic Universe, meanwhile, took on a more fantastical nature: “On The Martian we also had sessions with NASA, who explained how their systems work and what sort of data each screen displays,” says Sheldon-Hicks. Constant visual communication with the film’s production team meant each bit of data was presented as true to the needs of the film’s narrative as possible. “We need to work with art departments to get the look and feel just right for the nature of the film, and that’s where cineSync helps a great deal.”įor instance, on 2015’s Ex Machina, the Territory team researched coding language to create practical interfaces that would feel believable in that world, while still conveying a sense of technological evolution. “Over the years I’ve found the look and interaction with UI growing increasingly interesting to directors and the audience – after all, most of us work in front of screens,” says Sheldon-Hicks of Territory’s specialty in fantasy user interfaces. It’s become absolutely essential to how we work as a studio.” “cineSync allows our partners to describe clearly what they need, visually and verbally, and we can record it to better implement those ideas into our output. “When working remotely from our partners – especially on complex work such as fantasy interfaces and screen graphics – communication and definition of creative intentions becomes of utmost importance,” he continues.
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“Originally they primarily came in from LA, but soon encompassed all continents. “Or projects come in from all around the world,” says Sheldon-Hicks.
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The global nature of such productions, alongside Territory’s multidisciplinary approach to work, prompted studio to find a communication solution that met the needs of its international clients. Recent film projects have included Ex Machina, Mission Impossible: Rogue Nation, The Martian and Batman v Superman – the latter of which involved the creation of a VR Batmobile experience. Territory’s first ever job was on the opening cinematic for EA’s hotly-anticipated 2010 Medal of Honor reboot, following which the studio quickly stepped into the world of Hollywood. Via its remote collaboration solutions, Territory is able to ensure the needs of its global client base come off without a hitch. To ensure everything stays on track, Territory relies on cineSync. Getting the details right in such high-profile productions is incredibly important, whether you’re looking to establish a consistent aesthetic or convey information in as clear a manner as possible. The creation of such elaborate imagery has been witnessed in productions that range from Prometheus to The Avengers.
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Along with full post-production services in VFX, video games, broadcast, branding and more, Territory’s strong design-based mindset comes to the fore in the creation of these intricate nexuses of data, marrying sci-fi escapism with the rules of the real world.
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It’s here that London-based creative outlet Territory Studio found its niche.