The following assortment of QuickTime movies have been compressed in MediaCleaner Pro using the Sorenson Codec set for 'good' quality ISDN streaming. Figure on a two minute buffer session for DSL and longer for skinny pipes. The following images are all owned and copyrighted by the companies that we created them for and are shown here for demonstration purposes only. They may not be reused for any reason without the express, written consent of their respective owners. For information on particular elements you may contact Electric SandBox.

Sony PlayStation2
Commercial

This is the director's cut of the international commercial that served as the inaugural roll out for Sony's highly anticipated game station. The spot played heavily in 143 countries including China, Russia, Japan, Europe and South America. The London based agency was looking for something unique and edgy so they ask David Lynch to create and direct the spot. David ask me to shoot it and create the 22 visual effects. He became impressed with the look and texture of the SONY PD-150 DVCAM that we were doing some tests with and decided to have me shoot the entire commercial with the tiny camera. Because of the physical size of the PD-150 we had to create numerous custom mounts and devices to get the cinematic look that he wanted. The visual effects were all done on a Mac500x2 using a combination of FinalCut Pro, Adobe AfterEffects, Discreet Logic Combustion and Pinnacle Commotion. David did all of the sound design personally and oversaw the full creative spectrum of this project. If you're a David Lynch fan, you'll want to see this.

(There is a sidebar on this project in Vol.4 No.2 of RES MAGAZINE. There is a feature article on the making of this commercial in the Sept. issue of DV Magazine)

Ripley's Believe it or Not!
Small Sample of a Full Network Graphics Package

I've done nearly a hundred network graphics packages over the years, but this was one of the most extensive. If you've ever seen this hit TBS / SuperStation show you know how many different bumpers, teasers, seques, titles, headers, lower thirds and transitional devices each show uses. For this season, the show's producers wanted a wide assortment of hard hitting, "in-your-face" design metephores that all used similar pallets. I used Adobe AfterEffects and FinalCut Pro riunning on a Pinnicle CineWave system to pre-comp various design concepts which were then burned to CD-ROM for testing. The final catalogue (over a hundred separate elements) was delivered on 26 CD-ROMs in uncompressed, 720 X 486 QuickTime.

Motion Picture Work
A Small Sample of Past Projects

While many of these projects were finished by Minky on an Inferno workstation, quite a bit of our work is done on Macintosh and NT computers. As with the network samples, we've included a few projects that have more significance on a personal level than others that we could have chosen. For instance, the REALLY BIG BUGS title sequence was designed by our good friend and AfterEffects guru Linda Weiman for a project that I was slated to direct for Fox Studios. The interface design on BARB WIRE'S headset was created by Shawn Esposito who is now one of Hollywood's top visual effects designers. Perhaps the best thing about working in this incredibly small industry is the wide range of interesting people you get to play with.

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