Issue link: https://digital.copcomm.com/i/1512899
www.postmagazine.com 5 POST NOV/DEC 2023 BITS & PIECES KING+COUNTRY CREATES TITLES FOR PEACOCK'S THE CONTINENTAL LOS ANGELES — King+Country (https://kingand- country.tv), the design-based VFX, animation and live action production company, created the main title and main-on-end for Peacock's The Continental: From the World of John Wick. The three-part event premiered on September 22nd and challenged the studio with creating something uniquely its own for the main title, subtitles and the main-on-end sequence. The focus was not just on the hotel, but on the many irreverent characters and plot lines that connect the dots of John Wick lore. The Continental explores the origin story behind the iconic hotel-for-assassins, which is the center- piece of the John Wick universe. The story is told through the eyes and actions of a young Winston Scott as he's dragged into the hell scape of 1970s New York City. Over its three episodes, the main title unfolds, along with the story, enriching the show's world-building with unique hidden Easter eggs and cryptic clues. K+C was tapped by the show's director and executive producer, Albert Hughes, to get the team back together following their previous collabora- tion on The Good Lord Bird, which won an Emmy for "Outstanding Main Title Design." "The Continental inherits such a rich and deeply- involved world, so there was an incredible amount to draw from," explains Rick Gledhill, K+C director and creative director. "Since the series is set in the '70s, we wanted to create a sequence that feels like it could have been produced using the analog technology available at the time — a fusion of illustration, high-contrast photography and bold mondo design. We knew we wanted a gritty print look, but simply layering up grunge gets messy quickly and serves no purpose. Instead, we did an in-depth study of '70s Xerox band posters, taking cues from the grain, print marks and the patterns the Xerox leaves while deconstructing the image. Using this method, we created a look that appears to be visually simple and tactile on the surface, but underneath enabled us to plan every shot in 3D and build in some slight of hand to carry us from scene to scene." All assets for the main title and credits were created from scratch, including all the live-action, slow-motion shoot-outs. K+C shot all the assassins falling on greenscreen with bluescreen guns during a one-day shoot. Instead of going the high-speed film route, they adopted more of a human-pup- petry approach by suspending the actors mid-fall from rigs, which allowed them to fine tune the performance and composition. "Although the lengths of our meticulous behind-the-scenes eˆorts may remain mostly unseen, we firmly believe that it shows in the finished product," explains Sorin Voicu, K+C art director, "We managed to create a title sequence that is both visually appealing to a general audi- ence and filled with satisfying 'Easter eggs' for the dedicated fans." "This project was right in our wheelhouse," adds VFX supervisor Andrew Cook, "especially in the way it uses abstract visual metaphor, layered with lore and backstory." HARBOR OPENS NEW CHICAGO STUDIO CHICAGO — Harbor (harborpicturecompany.com) has opened a new studio in the heart of Chicago. The venture establishes the post production com- pany's presence in the city, which is known for its influential advertising market. Harbor Chicago will oˆer a range of post production services, including creative editorial, color/finishing, sound, VO recording & casting, VFX and design. Overseeing the new location at 358 W. Ontario St. is executive producer Casey Swircz, formerly of The Mill and Carbon. Executive creative director Chris Hellman, formerly of Crew Cuts and Homestead, will curate Harbor's roster of editors across automotive, comedy, visual story- telling, beauty, fashion, documentary, mixed-media, Spanish-language and kids-audience advertis- ing. Additional talent includes creative directors Oisín O'Driscoll, head of color, and Steve Perski, sound. The studio's VFX creative directors include Kyle Cody, Anne Trotman, Andrew Granelli, Alex Candlish and David Soto, who lead a global team of VFX and design artists focusing on CG, 2D and motion design. Harbor opened in 2012 and has existing op- erations in New York, Los Angeles, London and Atlanta. Since launching the new location, the Chicago team has delivered projects for Tide (Lucky Jersey), Levi's (Precious Cargo) and Goldfish (Tiny Hands). "Opening a studio in Chicago is a significant milestone for Harbor," explains Zak Tucker, founder and CEO of Harbor. "It allows us to be closer to our clients and collaborators in this vibrant advertising capital, providing them with convenient access to our world-class artistry. Moreover, Chicago's storied history in the advertising world inspires us, and we are truly honored to contribute to the city's creative legacy." Photo (L-R): Oisín O'Driscoll and Casey Swircz