S i n g u l a r i t y | 2 0 2 0 - 2 0 2 1
I had the privilege of being part of an ambitious student-led sci-fi film called "Singularity," which took more than two years to complete, directed by Quinn McHugh Fluet. At the heart of the story is a young woman who is given the opportunity to reconnect with her estranged father from a parallel dimension.
I worked closely with the different departments to craft various on-screen elements, including UI interfaces and projection mapping. I was also heavily involved in post-production, designing trailer graphics and creating the main on end credit sequence.
This was the most immersive and in-depth project I've worked on so far. The experience of being a part of multiple stages of production was challenging, but it was also incredibly rewarding getting to collaborate with so many different people and seeing the individual pieces of the project come together to form a cohesive and visually stunning result.
C R E D I T S
Director Quinn McHugh Fluet
Cinematographer Nolan Woodward
Production Designer Clayton Bolding
Motion Graphics Chris Rodriguez
Composer Ethan Archibald
Colorists Nolan Woodward & Quinn McHugh Fluet
S O F T W A R E
Illustrator / Cinema 4D / X-Particles / Redshift / After Effects / Premiere / Projection
S c r e e n D e s i g n
There is a scene in the film where the main character and her inter-dimensional father are connected to a biometric monitor in order for the scientists to record how they react to each other. For this scene, I was in charge of designing UI that effectively displayed the biometric data.
To achieve this, I was given direction from the director to incorporate simple shapes, bold typography, and clean lines, all while drawing inspiration from the design language of Apple and fusing it with key sci-fi visual elements. I also utilized a muted color palette with vibrant, high-contrast colors for the most important information, effectively drawing the viewer's eye to the intended elements.
L i g h t S e q u e n c e
When it came to creating the scenes that depicted the transitions of the characters between dimensions, the director had a clear vision: the majority of the effects needed to happen in-camera, projected behind the actors and onto a translucent apparatus that represented the dimensional transporter. This meant I had to develop visuals that convey the idea of inter-dimensional travel...with a relatively low budget.
To ensure continuity with the film's established visual language, I chose to create vibrant abstract particle animations that depicted the infinite realities, flowing parallel to one another and slowly becoming more chaotic. The idea was to convey the experience of being transported atom by atom, as the characters moved between dimensions.
P h o n e S c r e e n
I was also tasked with crafting a screen design for a character's phone as it powered on from a notification. My objective was to maintain the Apple-esque aesthetic of the biometric monitor while steering clear of any overt resemblance to an iPhone. I ensured that the design seamlessly blended with the other visual elements in the film, including a particle background that alluded to the particle transporter, and remained in line with the overarching theme of the production.
M a i n O n E n d
Lastly, I was in charge of creating the credit sequence for the film, which involved listing the entire cast and crew. I wanted the design to match the film's graphic style, but with a more elaborate and complex aesthetic featuring intricate patterns and compositions. Because the director was adamant to include the flowing color gradients seen in the film's marketing, the most challenging aspect was ensuring the readability of the credits' typography. Despite the difficulty of this task, the director and I collaborated closely; we made extensive adjustments to the color, composition, and legibility of the typography to ensure that the names were clearly visible on the screen.
