Study of Power
November 2017 ––You see, the drive to innovate is innately human – and it has been since the dawn of man. We were always inventors, building newer and better tools to fuel our societies. The technologies we create have always been an extension of the people we are. In other words... machines reflect the humans who dream them up. They are our extra limbs. Our superpower. Our evolutionary legacy. No machine represents that more elegantly or self-awarely than the new Infiniti QX50.
The Approach
–– 02Our design lives at the intersection of candid humanity and slick, kinetic technology. It captures the feeling that humans and machines are elementally connected, with warm, grounded imagery offset by a high-end sense of futurism. Moving light sources that travel along surfaces – from the glossy surfaces of the car, to the textured surface of skin – is suggestive of movement, progress, and connection. Even the most tech-forward moments, such as moments where we visualize data as light, can be seen through a human lens by using shallow depths of field and abstracting the CG so that it feels photographic. This is especially true of elements that are filmed practically – like brain synapses firing, which can be achieved with projected laser light and some vibrant material studies.
The Science Lab
–– 03Using special streak filters to affect the light, we see the energy and electricity of thought, showing the connection between the human brain and the language of machines. Since our film required many fast cuts, it was so important that we had a rich library of footage that we can use to stitch everything together. Populating that library with filmed footage rather than solely CG assets gave us much more freedom in the way we created texture and contrast in the edit.
To accomplish this, Munko tasked frequent collaborator Peter Call Me The Clark to concoct a series of practical experiments to capture, and trusted his young understudy to direct the second camera unit with all the fancy shit. They brought in super ultra-uber talented Production Designer Philip Messina to collaborate with the team as well, and Mr. Messina opened his bag of tricks and together they all made some Scientific Magic Hour. Consistenly and without fail, the second monitor showing the happenings from the Science Lab was the favorite screen to get lost in during the shooting ceremonies – always the client pleaser.
Director: GMUNK
Managing Partner: Oliver Fuselier
Executive Producer: Brad Johns
Head of Production: Amy DeLossa
Line Producer: Lee Trask
Prod. Supervisor: Melissa Jacobs
Asst. Prod. Supervisor: Manar Humidan
Asst. Prod. Supervisor: Stacy Bergstein
1st AD: Ryan Lippert
2nd AD: Erik Marshall
Director of Photography: Chris Probst
1st AC: Niranjan Martin
1st AC B Unit: Bradley Rochlitzer
2nd AC: Jeremy Cannon
Practical Wizardry: Peter Clark
Production Designer: Philip Messina
Asst. Art Director: Paul Richards
Propmaster: Chris Wright
Asst. Propmaster: Curtis Harrison
DIT: Jesse Tyler
Crane Tech: Nazariy Hatak
Crane Tech/Driver: Brian love
Head Tech: Jay Sheveck
Gaffer: Spencer Scranton
Best Boy Electric: Anthony Najem
Electric: Armen Gurdzhyan
Electric: Brandon Alperin
Electric: Mike Mauceri
Fisher Light Tech: Vincent O’Carroll
Fisher Light Tech: Fernando Espiritusanto
Key Grip: Eric Budlong
Best Boy Grip: Brian Deutsch
Grip: Kaiyoti Pesente
Grip: Jim Wickman
Grip / Driver: Mike Mull
Hyphenate: Alfonso 'Ponch' Arellano
Scenic: Max King
Key Costumer: Julie Block
2nd Costumer: Dana Peterson
Key Make-Up: Keiko Wedding
2nd Make-Up: Haruyo Sawada
Gang Boss: Rob Harper
Craft Service: Paloma Aguirre
Stage Manager: Richard Gray
VTR: Adrian Delgado
Script Supervisor: Debbie Wright
Manicurest: Thao Nguyen
Projector Project Manager: Adam Sivertsen
Projectionist: Christian Shen
Projectionist: Kenny Miller
AV Tech: Asa Borquist
Laser Tech: Adam LaBay
Turntable Tech: Andrew McCown
Turntable Tech: Juan Sylvestre
Post Production
VFX Supervisor: Kevin Lau
Lead Designer: Toros Kose
Editor: Graham Chisholm
Sound Design & Original Music : CypherAudio
Post Producer: Kat Friis
Timber Producer: Rebecca Jameson
Practical Editor: Peter Clark
Practical Music: EnterNull
Talent
Female Driver: Ashlynn Yennie
Male Driver: Edward Verdugo
Vitruvian Man: Nick Denbeigh
Client
Head of Global Marketing: Melissa Bell
Head of GLBL. Mktg. Campaigns: Sophia Formosa
Manager, Global Marketing: Stewart Sze To
Senior Analyst: Shanshan Li
Agency – 72andSunny
Producer: Elizabeth Corsini
Creative Director: Sean Matthews
Creative Director: JC Abbruzzi
Designer: Gideon Gillard
Writer: Cory Conrad
Creative Director: Nate Virnig
Group Production Director: Angelo Mazzamuto
Group Creative Director: Gui Borchert
Munky’s Grid.
1999 –– 2025The Grid is a mosaic of the creative profile. It is the flowchart of output –– the pulse of pursuit. Each entry is a memory, an arc of emotion; a creative fulfullment with vivid learnings and an enduring imprint.
The Grid is the totality of the flow.