Some people marry while others, well, play house. Either way, sometimes things don’t turn out as planned which is what this show is about.
Bravo came knocking and my team at Monkeyhead created this cool open, as well as all the on air graphics, for their new show, Untying the Knot.
Here’s a little write up about the process.
This project had a bit of everything. We shot the doll house and all the props practically, while adding the hero dolls in post. And speaking of the hero dolls… I had a bit of fun choosing clothing for them, as evident below.
I’ve also included the animatic for your viewing pleasure!
While I may not agree with some of the things Bill Maher says… I’ll totally create the show open for his show. Plus, it’s HBO…HB-freakin-O!
I, along with a few others at Monkeyhead, created a couple of looks for Bill, who was totally involved in the process (how weird is that??). Once he chose a direction I created the show open in C4D.
What was really great about this project was the challenge of making a fully editable show package… in After Effects. I love me some AE, but re-creating that show open – with it’s 3D and reflections – was a pretty big head scratcher. After a lot of trial and error, and some late nights, I cracked the code and figured out a simple and fully editable solution that worked easily enough for their intern to update when necessary.
All in all, it was a pretty fun gig and I’m pleased with the way it turned out.
For the first time in 7 years, I am no longer working for a company with the word “Monkey” in it’s name. Monkeys have been been part of my life for years (I may or may not have been nicknamed “monkeyboy” in my youth), so it’s hard to move on. However, as hard as it may be, I have left Monkeyhead and started work at Deutsch LA as the Broadcast Motion Design Director.
Once there I hit the ground running, and, with the help of a few talented guys, was able to make these 5 spots for Snapple.
Budget didn’t allow for much 3D, only a tiny bit of 3D done for the ice cubes in Diet Half-n-Half, and the bottle cap in Real Facts, but the rest was all After Effects.
I’m pretty pleased with the results, and so was Deutsch, as these are the first in-house motion graphics spots they’ve ever shipped.
And yes, that is Saul Goodman.