Concept: Energy in Flux
An experiment to observe how energy flows and transforms between mechanics, light, and sound, and how those forces are perceived by the human body to eventually culminate in human emotion.The creative direction for this project was rooted in curiosity and exploration. Understanding that every pixel is composed of elemental forces that give life to the universe.
Commendations:
PROJECT SPECIFICATIONS
Production time
2 months
Duration
3 minutes
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The palette for my section was based on prismatic colors. Hues that would appear in the chromatic aberration of glass objects. The color palette would augment and fill the glass shapes as the energy moved through the different environments.
Color palette
Tone of animation
Curious, reflective, analytical, technological
ITERATION FROM DESIGN TO ANIMATION:
THOUGHTS ON BEYOND THE FRAME
THOUGHTS ON BEYOND THE FRAME
The opportunity to work on a project with such a large scale was an experience that I am grateful for and won't forget.
My role began in November of 2025. Initially, I was tasked on the animation team. My goal was to experiment and animate the logo for short loops as motion tests. My work on this section of the title sequence would pick up later in the creative process. The design team required aid in creation of 3D style frames, which I offered to help in making. I worked on style frames for shots 13 - 16, creating iterations and updating the design lead on my progress. Shots 15 and 16 were especially heavy, given the amount of reflective materials within the composition.
Once a variety of style frames had been produced for the look of the title sequence, I was shifted back to the animation team for the same section. I kept up the process of iterating on the behavior of motion, and kept files well organized. Despite the explorations of branding team members, the concept shifted back to the original pitch. This lead to making the work as close as possible to the creative directors' original aesthetic. I continued animating and rendering files in Cinema 4D and Redshift until asked to pause and send over my latest versions of the animation for further polishing by another member of the branding team. I kept in communication and supported by providing whatever files or materials were needed until the end of the production process.
My role began in November of 2025. Initially, I was tasked on the animation team. My goal was to experiment and animate the logo for short loops as motion tests. My work on this section of the title sequence would pick up later in the creative process. The design team required aid in creation of 3D style frames, which I offered to help in making. I worked on style frames for shots 13 - 16, creating iterations and updating the design lead on my progress. Shots 15 and 16 were especially heavy, given the amount of reflective materials within the composition.
Once a variety of style frames had been produced for the look of the title sequence, I was shifted back to the animation team for the same section. I kept up the process of iterating on the behavior of motion, and kept files well organized. Despite the explorations of branding team members, the concept shifted back to the original pitch. This lead to making the work as close as possible to the creative directors' original aesthetic. I continued animating and rendering files in Cinema 4D and Redshift until asked to pause and send over my latest versions of the animation for further polishing by another member of the branding team. I kept in communication and supported by providing whatever files or materials were needed until the end of the production process.
