An Epic Sci–Fi Series Based on the Classic Isaac Asimov Novels
a KEDRON & CBFX Collaboration
SEASON 2 | 6 SCENES | HIGH CONCEPT DESIGN IN MOTION
Kedron had the honor to dive deep into the creative waters collaborating, once again, with CBFX for Apple TV’s epic Sci-Fi series Foundation, Season 2.
Six unique VFX scenes called for extremely creative solutions – Kedron provided Hi Concept Design in Motion that brought to life key scenes in the story. The combination of CBFX’s top notch compositing mixed with Kedron’s strong Art Direction was a huge success.
SCENE 1 | Episode 5 | Memory Audit
The Memory Audit scenes were highly interactive and called for a tremendous amount of concept art, R&D and iterating. The human/clone element is supplementary and there to add interest to the system. A type of scanning of the head takes place lending towards detecting memory and brain capacity/activity of that clone.
These are the design elements used in this concept. A demonstration of how the visual art goes from it’s created form in 2D to then a more compelling 3D experience with animation in mind. The below videos are simply showing the dimensionality and thought behind the concept regarding design elements and specific spatial relationships.
The UI in this scene is dimensional and extremely interactive. We explored the concept of having the archive span sequentially in a rolodex like form. As Brother Dusk pushes his finger up and down, the cylindrical system corresponds. When a file is chosen or highlighted it then expands making another level of information available to the user.
SCENE 2 | Episode 5 | Salvor Finds Hugo
In this scene Salvor finds Hugo (a fake Hugo as she comes to learn). The two of them attempt to board the Beggars Lander ship, but not without resistance from Hari. Kedron developed the UI and graphic system, which served as a major vehicle to move the story on screens that were used to correlate with each characters interaction throughout this sequence in Episode 5.
Hari accesses the body scanner by typing in a code. This code initiates a body scan on Hugo and Salvor who are outside the ship.
Hari is skeptical of the body scan of Hugo. He interacts with the ships surveillance and shortly after sees on the radar an approaching threat to their ship.
SCENE 3 | Episode 8 | Kiln Discs
Light Projections // Using CG to track with Live Action Props
In this sequence Salvor’s mind and thoughts are being suppressed by digital wall devices called Kiln Discs. Light projects mathematical coding that dissipates outwards. The rings and mathematical coding react to the Salvor’s hand obstructing the signal when she reaches in to grab the device.
Several designs were executed. The process was extensive, but necessary. The end result was very simplified, but the creativity getting there made for a very rewarding conclusion.
We built additional design elements playing into the mathematical coding — inspired by previous math language designs.
This motion test shows how fields were used to influence animation. There are three tiers of influence circling the device that work off of the practical lights on the device. Tentacles, or arm like columns of number sets, are set up to create the sense of coding that is blocking Salvor’s thought process. These tentacles have the ability to grow in length (vertically) while fluctuating in a breathing-like state bulging the tentacles outward and inward to give life to this forcefield.
SCENE 4 | Episode 7 | Boat UI Device
In this scene Salvor is searching for clues using boat technology. She searches through the diagnostics and accesses the memory to find the navigation cache records, which reveal the routes that the boat has taken. The typography is treated simply in a 2D digital hologram that displays above the surface of the tech. The map feature is extremely interactive and uses a pin-push aesthetic that gives a 3D relief from the system as a series of holographic pins reveal the topography of the charted paths that Salvor searches.
This shows some of the unique features of the 3D topography treatment.
SCENE 5 | Episode 6 | Tablet
In this scene young Hari is using graphs, mathematical symbols, formulas and shapes on a tablet device that help him figure out a clear path in order to avoid the megastrike stampede. This is an E-Ink type display which is highly interactive. There is layering that gives a bit of dimensionality to the surface of the display. Graphics smoothly snap to points as he moves them around and interacts with his playbook.
SCENE 6 | Episode 9 & 10 | Whisper Ships
For scenes 9 and 10 Kedron created graphics that were inspired by Whisper Ships. From graphic ship explosions to x-rays of the internal matter several designs and motion tests were created.
This is is a graphic insert placed inside a ship monitor that is scanning a whisper ship for evidence of life forms.
The scan starts at the top of the ship on the two wings and scans down to the bottom. As the ship is scanned the pilot is detected in the cockpit and then there is a second life form detected at the base of the ship. This second life form is tissue like matter that serves as the brain of the whisper ship.
The brain was designed to fit perfectly inside the rear of the ship. Its tentacles connecting to the ports inside the whisper ship model.