Control Your World

January 2019 ––
The fine folks at Muzik commisioned the Munky to direct a commercial campaign that sought to write the new chapter in Muzik’s story. It was a campaign that was about more than music, instead harnessing the power of technology to bring us back to nature. Empowering us to go out into the world heads up instead of down. The future as we know it has changed our bodies, shortened our attention spans, and prevented us from truly experiencing the world. What Muzik does and what we are representing in this film is that rather than picking one side, by intertwining nature and technology together we can unlock the true potential of being human. Muzik products liberate us to do more, be more productive, discover more adventures, and be our best selves. They are smart devices on your head rather than in your hand, impacted by the natural cadence of your brain rather than your finger.

In our film that metaphor manifests in how our characters can affect change in their surroundings in their own unique ways. When Mother Nature and Father Time unify they show the power of bringing those two incredible forces together. So they wanted to present the rebirth of Muzik not only as a technology company, but as a new vision of the way humanity can live with technology. It was a chance to define what that would look like in a way that transcends mere branding – that visualizing an attitude and feeling, Muzik not only as a brand — but a movement.

The Film

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The Concept

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At the heart of our visual language is the essence of Muzik: humanity and technology melding to form action. Music is vibrations and waveforms, a kinetic exercise that impacts the physical world. The team sought to design generative motion graphic fabrics that visualize those vibrations in two styles that represent the different energies of Mother Nature and Father Time. Each will have its own presence and movement and add another layer of storytelling.

Mother Nature’s fabric will be an organic, connected tissue, like a glowing mesh blowing in the wind, or bioluminescent organisms floating on water. Father Time’s will be more technological, like a holographic Lidar Fabric of data suspended in the air. At the end of the film, the two motifs will braid into a double helix from which the headphones will emerge. We are left with the understanding that these two fabrics ultimately fuse into the DNA of the brand. 
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Credit List


Director: GMUNK
Production Company: Tool of North America
Managing Partner: Nancy Hacohen
Executive Producer: Preston Garrett
Head Of Production: Ian Falvey
Producer: Wade Brandenberger
Prod. Supervisor: Andre Kusmierz
Asst. Prod. Super: Scott Brown
1st AD: Jesse Nye
2nd AD: Graham Geraghty


Producer: Dan Keston
Creative Director: Chris Gomersall

Camera Dept

Director of Photography: Chris Probst
1st AC: Eric Smith
2nd AC: Emily Hock
DIT: Mark Zalewski
1st Crane Tech: Charles Eshbaugh
2nd Crane Tech: Mike West
Crane Tech/Driver: Brian love
Head Tech: Jay Sheveck
Scorpio Head Tech: Gilbert Alvarado


Gaffer:  Nizar Najm
Best Boy Electric: Mike Garcia
Electric: Anthony Najem
Electric: Jack Shaw
Electric: Kevin Heinrich
Dimmer Operator: Joe Turrentine


Key Grip: Eric Budlong
Best Boy Grip: Alex Santana
Grip: Nick Bodkin
Grip: Demetrie Cooley
Grip / Driver: Eric Yahraus
Prop Master: Marc Jackson


Mother Nature: Vijessna Ferkic
Father Time: Gamzat Luguev

Hair & Makeup

Wardrobe Stylist: Olivia Hines
Make-Up Artist: Kristin Martin
Make-Up Assistant: Elizabeth Mbousia


Pre-Vis Supervisor: Barry Howell
Bidding Supervisor: Matt Koehler
Produciton Manager: Emily Unruh

Post Production

Post Production: Framestore Los Angeles
Producer: Rachel Mariscal
Creative Director: Alex Thomas


Editor: Zoe Mougin
RPS Head of Production: Esther Gonzalez
Producer: Dina Ciccotello


Composer: SoundsRed