Client: CISCO Systems

Client: Czarnikow / Tate-Vision

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UKTV has gone all-out with an impressively ambitious £230,000-per-episode ‘Hollywood stunt-style’ series in which so many cars have been written off that the production crew have lost count. DazPix was asked to create the title sequence and graphics package for the series which we delighted in saying a big Yes! What fun we had with cars, explosions, giant grabber arms and trucks hell-bent on crashing. The sequence was created in Cinema 4D and After Effects.

The cars in the show are controlled from the base station which contains a Jaguar XJ6 fitted out with five TV screens instead of a windscreen and windows. It has also been converted to remotely control a second car, fitted with a state-of-the-art robotics system and four cameras, to take part in a series of challenges on a nearby track. These challenges are played out across the airbase and make full use of its features, including nuclear bunkers, a runway, a quarry, a forest section and enormous aircraft hangars. And of course, there’s the added pressure of being chased by JCBs, buggies and police cars, as well as being aware you’re competing against the clock with another team.

GAMES

Road From Hell
Keep the car on the road for as long as possible while being chased by two armoured trucks

Police Chase
Outrun police cars in a tight, industrial landscape

The Jump
Drive through a wall of flames before leaping 100 feet of parked cars

Movie Medley
Navigate a series of obstacles before driving up a ramp onto the back of an articulated lorry travelling at 50mph

The Bear Pit
Stay alive while being pursued by buggies and JCBs around a quarry

Duck and Cover
Clear a dockside car park while being shot at with petrol bombs by gunmen

The Wrecking Yard
An auto assault course including a 20ft high aerial tightrope track

Client: Blink Productions / UKTV Dave

DazPix was asked to create the titles and graphics package for the brand new 20-part series for BBC Two.

Melvyn Bragg retells the fascinating stories of life in Britain from 1900 to 1970 through the archive collections of the British Film Institute and other National and Regional Film Archives.

From coal mining via seaside holidays through to the 1977 Silver Jubilee, Melvyn reflects on the past hardships and simple pleasures of British life, as well as the enormous social changes that took place from the 1900s onwards. Travelling across the UK, Melvyn meets members of the public who appeared in the historic films featured in the series, and brings them face-to-face with their relatives with the help of a 1967 custom built vintage mobile cinema.

Melvyn Bragg said: “At the turn of the last century one invention changed the way we recall our history forever – the motion camera. Thanks to Britain’s pioneering film-makers, we can still glimpse a world long gone.”

How it was made - The grass and tree textured globe was built, animated and lit in Cinema 4D where the rotoscoped archive footage carefully made in After Effects was seamlessly looped and incorporated into the scene. Multiple render passes were then brought back into After Effects where the sky backgrounds, additional lighting effects and other animated elements were added. The whole sequence was combined with images of The Mobile Cinema which was shot on DSLR and treated, and end title animated before the final edit to the music score.

Aside from the Title Sequence, DazPix also created a fully 3d animated timeline of the decades, straps, stings, and wipes for the 20 part series.

Designed and Animated by DazPix

Client: BBC Manchester / BBC2

Here are a few images of the banners on location with the Vintage Mobile Cinema

DazPix was asked to create a short title sequence for the documentary directed by JP Davidson following Hugh Laurie: Down by the River where the actor travels to New Orleans to explore the roots of the sounds that inspired his lifelong passion for music. The film captures behind the scenes moments as he prepares to record his own versions of blues and jazz songs and perform with his band at one of the city’s iconic venues.

Designed and Animated by DazPix

Client: Sprout Films

DazPix was asked to create a title sequence for the 11 part factual documentary series ‘Narrow Escapes of World War 2′ tracing tales of heroism behind enemy lines, great escapes and courage under fire during World War 2. The sequence was inspired by the end credits of the movie 300, using silhouettes and strong coloured backgrounds, the sequence is littered with explosions, smoke and bullet impacts. The audio was sourced from Audio Network who tweaked the track to fit the sequence duration, before the animation was re timed and layered to give it maximum impact.

Designed and Directed by DazPix, After Effects by Jun Iwakawa, Music by Audio Network and Sound Design & Final Mix by Clear Cut Pictures.

Client: World Media Rights

Narrow Escapes Storyboard

DazPix was asked to create this short animation as an ident for Spring Films to use on the end of their films and programming

Animated using and After Effects

Client: Spring Films

The 2011 Titles Update – Eight new Irish teenagers spend their summer training to be lifeguards at the Fort Lauderdale Lifeguard Boot Camp.

This is a reincarnation of a title sequence for the same show set in San Diego in 2008 and Fort Lauderdale 2010 which can be seen here and here. It is effectively the same sequence but with replacement shots and animation to update the location and participants.
Using footage of the guys and girls during their training, along with photography, textures and graphic elements, this sequence was created in After Effects. We also produced a package of graphics for the show including, bumpers and idents, profile animations, straps, credit bed and wipes and transitions.

Client: Rival Media / BBC Switch Ireland

We were commissioned to provide a series of maps for the newest documentary series that Wall to Wall were making for National Geographic.

The programmes each concentrated on a different narcotic and folowed it’s production and journey around the world from the factory to the end user.

Below is a small selection of maps from the series, made in High Definition using After Effects, they use high resolution satellite imagery.

After Effects animation by Huw Davies

Client: Wall to Wall / National Geographic