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…
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…
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…
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…
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…
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…
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,…
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.”…
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.…
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,…
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,…
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…
Blue Spill worked closely with director Alex Gibney and the teams at Passion Pictures and Jigsaw Productions (NY) on Citizen K, Alex’s latest film exploring the life of Mikhail Khodorkovsky. We came on board early during the NY based edit, and worked at finding a cohesive aesthetic for various graphical elements across the film. These included presentation credits, newspaper…
And We Go Green Motion Reel And We Go Green | Director: Fisher Stevens and Malcolm Venville. Producers: Leonardo DiCaprio, Christopher St. John, Zara Duffy, Jennifer Davisson Following it’s premiere at Cannes, And We Go Green will be holding their North American premiere at TIFF. We were closely involved with the film over the edit period, and worked with the NY based…
Having worked with director Ursula Macfarlane and editor Andy Worboys previously, Blue Spill was involved early during the editing process for initial conversations. As the cut developed we became more involved, designing several in film sequences for the film, which premiered Sundance 2019. Our early conversations with Urusula were directed around her thoughts for how she…
Having worked with VFX producer Sarah Tulloch previously (The Man From U.N.C.L.E.), we came on board the final stages of post to look at two sequences. One was the opening title animation, and a secondary sequence when Michael Fassbender’s character dies. Our key focus was the title animation. We worked closely with VFX Supervisor and director Justin…
We were delighted to be asked to create the title sequence and several in episode graphic sequences for Discovery six part series, Why We Hate. Led by executive producers Steven Spielberg and Alex Gibney, they were looking for a strong, cinematic, engaging and thought provoking sequence which explored the key theme of the series; Hate, with a…
Blue Spill delivers 50 graphics + visual effects for Daniel Gordon’s BAFTA winning and Emmy nominated documentary on the Hillsborough disaster. Due to the ongoing inquest, the film has been in a two year holding pattern – and now that the inquests are finally over, the film can be shown in the UK. Having worked…
Blue Spill delivered over 80 VFX shots for ITV’s Tina and Bobby, including compositing 1960’s West Ham stadium and re-creating the World Cup final at Wembley stadium. Working with VFX Supervisor Tanvir Hanif, whom we’ve previously collaborated with on Jonathan Creek, we also worked with CG artists from Fifth Wall to re-create the infamous World Cup final.
Working with Passion Pictures, we designed an opening title sequence for Laura Fairrie’s film, The Spiral. The film explores the rise of anti-Semitism and assaults against Jews in present-day France. We came on board on the later stages of the edit, to design a title sequence which conceptualised the key themes of the film. Laura…
Blue Spill designed the title sequence and in episode graphics for 8 part series, The Traffickers. Executive produced by Simon Chinn, Jonathan Chinn and Sam Collyns, the investigative series follows the illegal trades of precious minerals, counterfeit drugs and endangered species around the globe. We developed the series aesthetic with an initial exploration of the title sequence,…
https://vimeo.com/250428204 The film provides an unprecedented look at the shaping of US foreign policy by following key members of outgoing US President Barack Obama’s administration. Having worked with director Greg Barker previously (Legion of Brothers, Manhunt, The Thread, Sergio, Koran by Heart), we were approached by Greg early during the LA based edit to conceptualise an opening…
Blue Spill designed the graphical elements for the opening title sequence for Bart Layton’s film, American Animals. We also designed the main on ends, typographical elements and an in film split screen sequence. We came on board during the London based edit, and worked closely with Bart and editor Julian in executing their vision for the sequence.…
Blue Spill worked closely with Passion Pictures and director Lili Fini Zanuck (Rush, Cocoon) over a six month period to create a range of animation sequences for Eric Clapton: Life in 12 Bars. The film is an intimate, revealing musical odyssey on the life and career of Eric Clapton, told by those who have known him best, including BB King,…
Blue Spill designed motion sequences for Guy Richie’s The Man From U.N.C.L.E. Initially we came on board for two sequences, which was later extended to three. Our key focus were two split screen sequences within the film, which were around three minutes in length. Inspired by the iconic 1960’s split screen style, we also looked to modernise the…
Blue Spill crafted the opening title sequence for Tomas Leach’s film, The Lure, produced by Robert Fernandez and exec. produced by Errol Morris. The film is based on Forrest Fenn’s treasure, following various hunters led only by Fenn’s abstract poem. Within the sequence we explored the reveal of incongruous information, aesthetically representing the difficult journey of…
We delivered over 50 vfx shots for the hour long Christmas Eve special. Having previously worked with Tanvir Hanif (Cilla, Midwinter of the Spirit, Cradle to Grave), we came on board early to discuss approach and workflow. Supervised internally by Blue Spill’s Head of VFX Anthony Brownmoore, we worked with Dave Child in managing the team…
Blue Spill’s Ant Brownmoore worked with VFX Supervisor Tanvir Hanif on the feature length special; Jonathan Creek : Daemons Roost Ant attended set for a weeks VFX supervision on the dungeon set to create the pit of flames and various shots of the exterior of the location house, which Tanvir would later extend and enhance…
Blue Spill collaborated on Louis Theroux’s My Scientology Movie, designing the opening title sequence, end credit sequence, photographic sequences, twitter feeds, narrative cards, LTs and location IDs. Inspired by the Church’s use of filming techniques, and aided by ex-members of the organisation Louis Theroux used actors to replay some incidents people claim they experienced as members in…
Blue Spill designed the title sting and in film graphics for Netflix 8 part series, Captive, produced by two-time Oscar-winning producer Simon Chinn (Man on Wire, Searching for Sugar Man) and acclaimed executive producer Doug Liman (The Bourne Identity). The series examines the most challenging hostage situations of our times, from the highest-profile cases to those…
Blue Spill worked in conjunction with ITV’s 3Sixtymedia to deliver a range of VFX shots for BBC’s new Danny Baker sitcom starring Peter Kay, Cradle to Grave. We worked on episodes four through to eight, on an average of 30 VFX shots per episode. There was a great range of shots, most of which were helping…
Working closely with director Cosmo Fielding-Mellen and editor Nick Packer, we provided around thirty minutes of in film sequences for Passion Pictures, The Sunshine Makers. The film explores the original creators of the infamous 1970’s acid Orange Sunshine, Nick Sand and Tim Scully. The primary sequence above is part of our Investigation Board series. The film…
Working with Passion Pictures and Red Box Films, we designed the title sequence for Bond, Everything or Nothing. We were bought on board during the edit, having worked with director Stevan Riley previously on the Gierson award winning Fire in Babylon. Stevan discussed his concept for the sequence, which involved seeing each ‘Bond’ through a gun…
Having worked with director Stevan previously (Fire in Babylon, Bond; Everything or Nothing), we had some early meetings to discuss style and his unique narrative approach. Without the use of talking heads, Stevan’s use of archive was incredibly important. We also needed to consider Stevan’s reconstructed footage, which initially sat too clean in the edit and required…
