Antman
Client:
Marvel
Marvel
Field:
Film
Film
Film
Year:
2023
Celestium Consoles
I had the pleasure of being part of a team that conceptualised, designed, and animated on-screen displays and user interface graphics across 11 sets and 250 shots. My goal was to create an authentic glimpse into the elusive Quantum Realm while staying true to the renowned aesthetic of the Marvel Cinematic Universe.
At the visual climax of the film’s tech language stands Kang’s control room, where we had to design interfaces that felt part of the Quantum Universe while showcasing Kang’s advanced power.
It was a rewarding challenge especially when designing consoles that had to fit the actors' movements (who, unsurprisingly, didn’t always keep our graphics in mind). It was a great exercise in problem-solving and design instinct.
The tools used here included Cinema 4D, Illustrator, and After Effects.
Celestium Consoles
I had the pleasure of being part of a team that conceptualised, designed, and animated on-screen displays and user interface graphics across 11 sets and 250 shots. My goal was to create an authentic glimpse into the elusive Quantum Realm while staying true to the renowned aesthetic of the Marvel Cinematic Universe.
At the visual climax of the film’s tech language stands Kang’s control room, where we had to design interfaces that felt part of the Quantum Universe while showcasing Kang’s advanced power.
It was a rewarding challenge especially when designing consoles that had to fit the actors' movements (who, unsurprisingly, didn’t always keep our graphics in mind). It was a great exercise in problem-solving and design instinct.
The tools used here included Cinema 4D, Illustrator, and After Effects.
Celestium Consoles
I had the pleasure of being part of a team that conceptualised, designed, and animated on-screen displays and user interface graphics across 11 sets and 250 shots. My goal was to create an authentic glimpse into the elusive Quantum Realm while staying true to the renowned aesthetic of the Marvel Cinematic Universe.
At the visual climax of the film’s tech language stands Kang’s control room, where we had to design interfaces that felt part of the Quantum Universe while showcasing Kang’s advanced power.
It was a rewarding challenge especially when designing consoles that had to fit the actors' movements (who, unsurprisingly, didn’t always keep our graphics in mind). It was a great exercise in problem-solving and design instinct.
The tools used here included Cinema 4D, Illustrator, and After Effects.
To facilitate post-production, we provided separate elements for the console: the console itself, reflections, and glow effects. This allowed compositors to easily incorporate them into the final composition. Alongside these elements, we delivered a pre-assembled slap comp, simplifying the compositing process and ensuring efficiency while maintaining quality.
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