Pelé

Blue Spill created over 80 typographical elements for Netflix’s Péle. We worked closely with the film directors in developing the look for the film’s title card and typographical elements. These elements included lower thirds match results, location and narration cards, which we delivered in both English and Portuguese languages. With our design we wished to…

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In the Same Breath

Blue Spill felt extremely honoured to be able to work on this relevant and highly significant documentary In The Same Breath. A film which narrates the origins and escalation of the COVID-19 pandemic from Wuhan in China across to the USA. Documenting how the Chinese and American governments reacted and dealt with the outbreak. The…

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Equal

HBO’s new “Equal” docuseries, covering the history of LGBTQ civil rights, opens with this brisk and fiery collage of imagery by design director Allison Brownmoore and the crew at London design and VFX house Blue Spill. Allison Brownmoore: “We worked closely with the LA-based production developing a look for the series which felt strong, bold…

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The Ripper

We were thrilled to team up with director’s Jesse Vile and Ellena Wood to collaborate on this 4 part Netflix series about The Yorkshire Ripper. The infamous serial killer who terrorised the North of England during the late 1970s. Our main role was to help create a set of maps which would be referenced continually…

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American Murder | The Family Next Door

Motion design for Netflix / Knickerbocker’s True crime documentary Blue Spill created over 25 motion sequences for Netflix’s American Murder The Family Next Door.  We worked closely with the London based team, in developing a look for the film’s graphical elements, which compromised quite a lot of the film. Our two main areas of focus…

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Don’ F***k with Cats

Blue Spill designed the title sequence for Netflix series, Don’t F**k With Cats, produced by RAW (The Imposter, American Animals). We began discussing the project very early in the edit, with director Mark Lewis, and were immediately drawn to the incredibly story and how the story unfolded online. We worked closely with Mark to develop an aesthetic…

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Maradona in Mexico

Blue Spill designed the title sequence and several in episode graphics for Netflix’s Maradona in Mexico.  Directed by Angus MacQueen (Ronachan Films), the series follows football great Maradona as he arrives in Mexico to manage a failing football team. We came on board during the early stages of cutting, having worked with Angus previously (Legend of Shorty,…

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We Are X

https://vimeo.com/152682662/ed4bb2c5ee We created the title sequence for We Are X, which premiered Sundance 2016 and has since won the SXSW Excellence in Title Design Audience Award. The film explored the eclectic world of Japanese band, X Japan.   Our brief, from director Stephen Kijak, was to respond to the band’s early slogan, “Psychedelic Violence Crime of Visual Shock.”…

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Take Your Pills

Blue Spill designed the title sequence and over seventy in-film motion graphic sequences for Netflix’s Take Your Pills. The title sequence was nominated for a BAFTA Title Design Craft award. Directed by Alison Klayman (Ai Weiwei: Never Sorry), the film explores Adderall abuse in American society. Alison was interested in exploring an aesthetic which was eclectic.…

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Legion of Brothers

https://vimeo.com/236899207/c3c8c8533bWe were approached by Greg Barker to collaborate on his film, Legion of Brothers, detailing America’s first response into Afghanistan after 9/11. It is an incredibly powerful personal story which questions the nature of war, and the effect on those who served.  We’d previously worked with Greg on five of his previous films (Sergio, Koran by Heart,…

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The Longest War

https://vimeo.com/425504695/692a616c67We were approached by Greg Barker to collaborate on his film, The Longest War, which was commissioned to screen after the Homeland season finale. The film explores the human stories behind America’s involvement in Afghanistan, now the longest war in American history. We’d previously worked with Greg on a number of his previous films (Sergio, Koran by Heart,…

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The Little Drummer Girl

Anthony Brownmoore used Flame to complete almost thirty shots, most of which involved heavy clean up work, such as removing modern details to sit within the era. We also worked on shots to fix or complement performance, including mixing multiple takes together. We worked closely with VFX Supervisor Tanvir Hanif, who was operating Fusion. Our…

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