Podcasts about imaginary forces

There was a time when a movie title sequence was just the moment you grabbed your popcorn and waited for the real show to start. But in the mid-90s and early 2000's, that changed forever with films like Seven and shows like Mad Men and Stranger Things. The title sequence became a prologue—a metaphor for the film itself. This is a preview of a premium episode. To listen to the full interview, head over to our Substack:https://designbetterpodcast.com/p/mikon-van-gastel Our guest today, Mikon Van Gastel, was right there in the trenches of that revolution. After a formative and intense education at the Cranbrook Academy of Art—where the only teachers were artists in residence and your toughest critics were your peers—Mikon cut his teeth at the legendary studio Imaginary Forces. Today, Mikon is the Co-Founder and Chief Creative Officer of Sibling Rivalry, a hybrid brand studio and production company he founded with his best friend, Joe Wright. They've built a reputation for work that blurs the lines between branding, storytelling, and architecture.z In this episode, we explore the sheer scale of modern experience design. Mikon takes us behind the scenes of his work for the Sphere in Las Vegas—a venue he calls the “Champions League of content creation”. We discuss how to design for shared emotion, balancing the “collective gasp” of a 20,000-person audience with moments of intimate connection. We also dig into the business of creativity. Mikon opens up about the “sleepless nights” of running an agency in a project-based economy and how he refuses to transition fully into a management role, preferring to write treatments and stay hands-on with the work on nights and weekends. Whether you are designing software interfaces or directing films, Mikon's philosophy on collaboration and stripping away the noise to serve the core idea is something we can all learn from. Bio Mikon van Gastel is Director, CEO, and Co-Founder of creative agency Sibling Rivalry, based in New York and Miami. Originally from Holland, he earned his MFA from Cranbrook Academy of Art before launching his career at Imaginary Forces, where he designed award-winning title sequences for feature films and theatrical trailers. Van Gastel's work spans multiple disciplines, with notable projects in architecture and experience design including MoMA's interactive signage system, BMW World in Munich, the digital displays at Santiago Calatrava's World Trade Center Oculus, and most recently, immersive films for the world's first keynote inside The Sphere in Las Vegas. He also created a VR series with renowned curator Paola Antonelli. He continues to direct commercial campaigns and product launches for major brands including Apple TV+, Ford, Google, Target, BVLGARI, and Vogue, working with high-profile talent such as Drake, Taylor Swift, Lionel Messi, and Lewis Hamilton. Van Gastel speaks internationally about design integration and emerging industry trends at cultural and educational institutions worldwide. *** This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. Premium subscribers also get access to the documentary Design Disruptors and our growing library of books: You'll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further. Upgrade to paid ***

https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 The first season of the American science fiction horror drama television series Stranger Things premiered worldwide on the streaming service Netflix on July 15, 2016. The series was created by the Duffer Brothers, who also serve as executive producers along with Shawn Levy and Dan Cohen. This season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, and Matthew Modine, with Noah Schnapp, Joe Keery, and Shannon Purser in recurring roles. The first season of Stranger Things received critical acclaim, in particular for its originality, homages to the 1980s, characterization, tone, visuals, and performances (particularly those of Ryder, Harbour, Wolfhard, Brown, Heaton and Modine). Premise The first season begins on November 6, 1983, in a small town called Hawkins. Researchers at Hawkins National Laboratory open a rift to the "Upside Down," an alternate dimension that reflects the real world. A monstrous humanoid creature escapes and abducts a boy named Will Byers and a teenage girl. Will's mother, Joyce, and the town's police chief, Jim Hopper, search for Will. At the same time, a young psychokinetic girl who goes by the name "Eleven" escapes from the laboratory and assists Will's friends, Mike Wheeler, Dustin Henderson, and Lucas Sinclair, in their efforts to find Will.[1] Cast and characters See also: List of Stranger Things characters Main cast Winona Ryder as Joyce Byers[2] David Harbour as Jim Hopper[2] Finn Wolfhard as Mike Wheeler[3] Millie Bobby Brown[3] as Eleven ("El") Gaten Matarazzo as Dustin Henderson[3] Caleb McLaughlin as Lucas Sinclair[3] Natalia Dyer as Nancy Wheeler[3] Charlie Heaton as Jonathan Byers[3][4][5] Cara Buono as Karen Wheeler[6] Matthew Modine as Martin Brenner[7] Recurring Noah Schnapp as Will Byers Joe Keery as Steve Harrington Shannon Purser as Barbara "Barb" Holland[8] Joe Chrest as Ted Wheeler Ross Partridge as Lonnie Byers[9] Rob Morgan as Officer Powell John Paul Reynolds as Officer Callahan Randy Havens as Scott Clarke Catherine Dyer as Connie Frazier Aimee Mullins as Terry Ives[10] Amy Seimetz as Becky Ives Peyton Wich as Troy[11] Tony Vaughn as Principal Coleman Charles Lawlor as Mr. Melvald Tinsley and Anniston Price as Holly Wheeler Cade Jones as James Chester Rushing as Tommy H. Chelsea Talmadge as Carol Glennellen Anderson as Nicole Cynthia Barrett as Marsha Holland Jerri Tubbs as Diane Hopper Elle Graham as Sara Hopper Chris Sullivan as Benny Hammond Tobias Jelinek as lead agent Robert Walker-Branchaud as repairman agent Susan Shalhoub Larkin as Florence ("Flo") Episodes See also: List of Stranger Things episodes No. overall No. in season Title Directed by Written by Original release date 1 1 "Chapter One: The Vanishing of Will Byers" The Duffer Brothers The Duffer Brothers July 15, 2016 On November 6, 1983, in Hawkins, Indiana, a scientist is attacked by an unseen creature at a U.S. government laboratory. 12-year-old Will Byers encounters the creature and mysteriously vanishes while cycling home from a Dungeons & Dragons session with his friends Mike Wheeler, Dustin Henderson and Lucas Sinclair. The following day, Will's single mother Joyce Byers reports his disappearance to the police chief Jim Hopper, who starts a search but assures Joyce that almost all missing children are quickly found. The lab's director, Dr. Martin Brenner, investigates an organic substance oozing from the lab's basement, claiming that "the girl" cannot have gone far. A nervous young girl wearing a hospital gown wanders into a local diner. The owner, Benny, finds a tattoo of "011" on her arm and learns that her name is Eleven. Brenner, monitoring the phone lines, sends agents to the diner after Benny calls social services. The agents kill Benny, but Eleven manages to escape using telekinetic abilities. Joyce's phone short circuits after receiving a mysterious phone call that she believes is from Will. While searching for Will in the woods, Mike, Dustin, and Lucas come across Eleven. 2 2 "Chapter Two: The Weirdo on Maple Street" The Duffer Brothers The Duffer Brothers July 15, 2016 The boys bring Eleven to Mike's house, where they disagree on what to do. Mike formulates a plan for Eleven to pretend to be a runaway and seek help from his mother, Karen. Eleven refuses, however, revealing that "bad men" are after her. Will's brother Jonathan visits his estranged father Lonnie in Indianapolis to search for Will, but Lonnie rebuffs him. Hopper's search party discovers a scrap of hospital gown near the lab. After recognizing Will in a photograph and demonstrating her telekinesis, Eleven convinces the boys to trust her, as they believe she can find Will. Using the Dungeons & Dragons board, Eleven indicates that Will is on the "Upside Down" side of the board and is being hunted by the "Demogorgon" (the creature). Mike's sister Nancy and her friend Barbara 'Barb' Holland go to a party with Nancy's boyfriend Steve Harrington. Searching for Will near Steve's house, Jonathan secretly photographs the party. Joyce receives another call from Will, hears music playing from his stereo, and sees a creature coming through the wall. Left alone by the swimming pool, Barb is attacked by the Demogorgon and vanishes. 3 3 "Chapter Three: Holly, Jolly" Shawn Levy Jessica Mecklenburg July 15, 2016 Barb awakens in the Upside Down: a decaying, overgrown alternate dimension. She attempts to escape but is attacked by the Demogorgon. Joyce believes Will is communicating through pulses in light bulbs. Hopper visits Hawkins Lab, and the staff permits him to view doctored security footage from the night Will vanished, leading Hopper to investigate Brenner and discover his involvement with Project MKUltra and that a woman named Terry Ives alleged years earlier that Brenner took her daughter. Eleven recalls Brenner, whom she calls "Papa," punishing her for refusing to hurt a cat telekinetically. Steve destroys Jonathan's camera after discovering the photos from the party. Nancy later recovers a photo of Barb, simultaneously realizing that Barb is missing. Returning to Steve's house to investigate, Nancy finds Barb's untouched Volkswagen and encounters the Demogorgon but manages to escape. Joyce paints an alphabetic board on her wall with Christmas lights, allowing Will to sign to her that he is "RIGHT HERE" and that she needs to "RUN" as the Demogorgon comes through the wall. Believing Eleven knows where Will is, the boys ask her to lead them to him. Eleven leads them, to their frustration, to Will's house. From there they follow emergency vehicles to a nearby quarry just as Will's body is recovered from the water. 4 4 "Chapter Four: The Body" Shawn Levy Justin Doble July 15, 2016 Joyce refuses to believe that the body found at the quarry is Will's. Mike feels betrayed by Eleven until she proves that Will is still alive, channeling his voice through Mike's walkie-talkie. The boys theorize that Eleven could use a ham radio at their school to communicate with Will. Nancy notices a figure behind Barb in Jonathan's photo, which Jonathan realizes matches his mother's description of the Demogorgon. Nancy tells the police about Barb's disappearance. She later fights with Steve, who only cares about not getting in trouble with his father. Hopper has suspicions regarding the authenticity of the body found in the quarry when he learns that the usual coroner was sent home. Hopper confronts the state trooper who found it and beats him until he admits he was ordered to lie. The boys sneak Eleven into their school to use the radio, while Joyce hears Will's voice through her living room wall. Tearing away the wallpaper, she sees him. Eleven uses the radio to channel Will talking to his mother. Hopper goes to the morgue and finds that the body is a fake, and, suspecting that Brenner is responsible, breaks into the lab. 5 5 "Chapter Five: The Flea and the Acrobat" The Duffer Brothers Alison Tatlock July 15, 2016 Hopper searches the lab before being knocked out by the lab's guards. The boys ask their science teacher, Mr. Clarke, if it would be possible to travel between alternate dimensions, to which he answers that there could be a theoretical "gate" between dimensions. Hopper awakens at his house and finds a hidden microphone, realizing that Joyce was right the whole time. The boys follow their compasses, searching for a gate that could disrupt the Earth's electromagnetic field. Eleven recalls memories of being placed in a sensory-deprivation tank to telepathically eavesdrop on a man speaking Russian; while listening, she came across the Demogorgon. Fearing another encounter with the Demogorgon, Eleven redirects the compasses. Lucas misinterprets this as an act of betrayal, leading Mike and Lucas to fight and Eleven to telekinetically fling Lucas away from Mike. While Dustin and Mike tend to the unconscious Lucas, Eleven runs off. Nancy and Jonathan formulate a plan to kill the Demogorgon. While searching in the woods, they come across a small gate to the Upside Down. Nancy crawls through it but inadvertently draws the Demogorgon's attention. Jonathan unsuccessfully tries to look for Nancy, as the gate to the Upside Down begins to close. 6 6 "Chapter Six: The Monster" The Duffer Brothers Jessie Nickson-Lopez July 15, 2016 Jonathan pulls Nancy back through the gate. That night, Nancy is afraid to be alone and asks Jonathan to stay in her bedroom. Steve, attempting to reconcile with Nancy, sees them together through her bedroom window and assumes they are dating. Joyce and Hopper track down Terry Ives, who is catatonic and tended by her sister Becky. Becky explains that Terry was a Project MKUltra participant while unknowingly pregnant and that Terry believes Brenner kidnapped her daughter Jane at birth due to her supposed telekinetic and telepathic abilities. Nancy and Jonathan stockpile weapons to kill the Demogorgon, theorizing that it is attracted by blood. Steve is brutally beaten up in a fistfight with Jonathan after he insults Will and calls Nancy a slut. Jonathan is arrested and held at the police station for beating up Steve and inadvertently punching one of the responding officers in the face. Eleven walks into a grocery store and shoplifts several boxes of Eggo waffles. Searching for Eleven, Mike and Dustin are ambushed by two bullies but are rescued by her, as she uses her powers to break one bully's arm after he attempts to kill Mike. Eleven collapses and recalls being asked by Brenner to contact the Demogorgon and, in her terror, inadvertently opening the gate. She tearfully admits to Mike that she is responsible for allowing the Demogorgon to enter this dimension. Lucas sees agents, who have tracked down Eleven, preparing to ambush Mike's house. 7 7 "Chapter Seven: The Bathtub" The Duffer Brothers Justin Doble July 15, 2016 Lucas warns Mike that agents are searching for Eleven. Mike, Dustin, and Eleven flee the house. Eleven telekinetically flips one of the vans that block their path as the kids escape. Lucas reconciles with Mike and Eleven, and the kids hide in the junkyard. Nancy and Jonathan reveal their knowledge of the Demogorgon to Joyce and Hopper. Hopper also learns that Eleven is with the kids. The group contacts the kids, and everyone meets at the Byers' house. Joyce and Hopper realize that Eleven is Jane Ives. The group asks Eleven to search for Will and Barb telepathically, but her earlier feats have weakened her. They break into the middle school and build a makeshift sensory deprivation tank to amplify Eleven's powers. After telepathically entering the Upside Down again, Eleven finds Barb dead and Will alive, hiding in the Upside Down version of his backyard fort. Realizing that the gate is in the basement of the lab, Hopper and Joyce break into the lab and are apprehended by security guards. Nancy and Jonathan sneak into the police station to retrieve the weapons they purchased previously, planning to lure and kill the Demogorgon. In the Upside Down, the Demogorgon breaks into Will's fort. 8 8 "Chapter Eight: The Upside Down" The Duffer Brothers Story by : Paul Dichter Teleplay by : The Duffer Brothers July 15, 2016 Hopper, haunted by the death of his daughter Sara from cancer years earlier, gives up Eleven's location to Brenner, who in exchange allows Hopper and Joyce to enter the Upside Down to rescue Will. Nancy and Jonathan cut their hands to attract the Demogorgon at the Byers' house. Steve, intending to apologize to Jonathan about their fight, arrives just as the Demogorgon appears. Steve, Nancy, and Jonathan fight the Demogorgon and light it on fire, forcing it to retreat to the Upside Down. Meanwhile, Eleven and the boys hide in the middle school when Brenner and his agents arrive to kidnap Eleven; she kills most of them before collapsing from exhaustion. As Brenner and his remaining agents pin Eleven and the boys down, the Demogorgon appears, attracted by the dead agents' blood, and attacks Brenner and the remaining agents as the boys escape with Eleven. Hopper and Joyce enter the Upside Down's version of the Hawkins library, where they encounter several corpses of the Demogorgon's victims, including Barb, and find Will unconscious with a tendril down his throat. Hopper revives him using CPR after removing the tendril. The Demogorgon corners the kids, but Eleven recovers from her exhaustion and disintegrates it, causing them both to disappear. Will recovers in the hospital, reuniting with his family and friends. One month later, it is Christmas and Nancy is back together with Steve, and both are friends with Jonathan. Will coughs up a slug-like creature and has a vision of the Upside Down, but hides this from his family. Production Development Ross (left) and Matt Duffer, the creators of the series Stranger Things was created by Matt and Ross Duffer, known professionally as the Duffer Brothers.[12] The two had completed writing and producing their 2015 film Hidden, which they had tried to emulate the style of M. Night Shyamalan, however, due to changes at Warner Bros., its distributor, the film did not see a wide release and the Duffers were unsure of their future.[13] To their surprise, television producer Donald De Line approached them, impressed with Hidden's script, and offered them the opportunity to work on episodes of Wayward Pines alongside Shyamalan. The brothers were mentored by Shyamalan during the episode's production so that when they finished, they felt they were ready to produce their own television series.[14] The Duffer Brothers prepared a script that would essentially be similar to the series' actual pilot episode, along with a 20-page pitch book to help shop the series around for a network.[15] They pitched the story to a number of cable networks, all of which rejected the script on the basis that they felt a plot centered around children as leading characters would not work, asking them to make it a children's show or to drop the children and focus on Hopper's investigation in the paranormal.[14] In early 2015, Dan Cohen, the VP of 21 Laps Entertainment, brought the script to his colleague Shawn Levy. They subsequently invited The Duffer Brothers to their office and purchased the rights for the series, giving full authorship of it to the brothers. After reading the pilot, the streaming service Netflix purchased the whole season for an undisclosed amount;[16] the show was subsequently announced for a planned 2016 release by Netflix in early April 2015.[17] The Duffer Brothers stated that at the time they had pitched to Netflix, the service had already been recognized for its original programming, such as House of Cards and Orange Is the New Black, with well-recognized producers behind them, and were ready to start giving upcoming producers like them a chance.[15] The brothers started to write out the series and brought Levy and Cohen in as executive producers to start casting and filming.[18] The series was originally known as Montauk, as the setting of the script was in Montauk, New York and nearby Long Beach locations.[17][19] The brothers had chosen Montauk as it had further Spielberg ties with the film Jaws, where Montauk was used for the fictional setting of Amity Island.[20] After deciding to change the narrative of the series to take place in the fictional town of Hawkins instead, the brothers felt they could now do things to the town, such as placing it under quarantine, that they really could not envision with a real location.[20] With the change in location, they had to come up with a new title for the series under the direction from Netflix's Ted Sarandos so that they could start marketing it to the public. The brothers started by using a copy of Stephen King's Firestarter novel to consider the title's font and appearance and came up with a long list of potential alternatives. Stranger Things came about as it sounded similar to another King novel, Needful Things, though Matt noted they still had a "lot of heated arguments" over this final title.[21] Writing The idea of Stranger Things started with how the brothers felt they could take the concept of the 2013 film Prisoners, detailing the moral struggles a father goes through when his daughter is kidnapped, and expand it out over eight or so hours in a serialized television approach. As they focused on the missing child aspect of the story, they wanted to introduce the idea of "childlike sensibilities" they could offer and toyed around with the idea of a monster that could consume humans. The brothers thought the combination of these things "was the best thing ever". To introduce this monster into the narrative, they considered "bizarre experiments we had read about taking place in the Cold War" such as Project MKUltra, which gave a way to ground the monster's existence in science rather than something spiritual. This also helped them to decide on using 1983 as the time period, as it was a year before the film Red Dawn came out, which focused on Cold War paranoia.[14] Subsequently, they were able to use all their own personal inspirations from the 1980s, the decade they were born, as elements of the series,[14][22] crafting it in the realm of science fiction and horror.[23] The Duffer Brothers have cited as influence for the show (among others): Stephen King novels; films produced by Steven Spielberg, John Carpenter, Wes Craven, Robert Zemeckis, George Lucas and Guillermo del Toro; films such as Alien and Stand by Me; Japanese anime such as Akira and Elfen Lied; and video games such as Silent Hill and The Last of Us.[21][24][25][26][27][28][29][30][31] With Netflix as the platform, The Duffer Brothers were not limited to a typical 22-episode format, opting for the eight-episode approach. They had been concerned that a 22-episode season on broadcast television would be difficult to "tell a cinematic story" with that many episodes. Eight episodes allowed them to give time to characterization in addition to narrative development; if they had less time available, they would have had to remain committed to telling a horror film as soon as the monster was introduced and abandon the characterization.[15] Within the eight episodes, the brothers aimed to make the first season "feel like a big movie" with all the major plot lines completed so that "the audience feels satisfied", but left enough unresolved to indicate "there's a bigger mythology, and there's a lot of dangling threads at the end", something that could be explored in further seasons if Netflix opted to create more.[32] While explaining their intentions for the show, the Duffers adamantly stated their intentions to not explain the mythology in the show so they could leave a mystery and lot for the audience to speculate over their lack of understanding by the season finale, which they accepted but asked to be explained about at the very least, which they found like a really good exercise as they spent quite a bit of time with their writers' room figuring out exactly what the Upside Down would actually consist for, writing a 20-page mythology document whose details wouldn't be clarified for the audience until the show's fifth and final season.[33] Regarding writing for the children characters of the series, The Duffer Brothers considered themselves as outcasts from other students while in high school and thus found it easy to write for Mike Wheeler and his friends, and particularly for Barbara "Barb" Holland.[21] Joyce Byers was fashioned after Richard Dreyfuss's character Roy Neary in Close Encounters of the Third Kind, as she appears "absolutely bonkers" to everyone else as she tries to find her son Will Byers.[34] Other characters, such as Billy in the second season, have more villainous attributes that are not necessarily obvious from the onset; Matt explained that they took further inspiration from Stephen King for these characters, as King "always has really great human villains" that may be more malicious than the supernatural evil.[35] Casting The Duffers cast David Harbour as Sheriff Hopper believing this was his opportunity to play a lead character in a work. In June 2015, it was announced that Winona Ryder and David Harbour had joined the series as Joyce and as the unnamed chief of police, respectively.[2] The brothers' casting director Carmen Cuba had suggested Ryder for the role of Joyce, which the two were immediately drawn to because of her prominence in 1980s films.[14] Levy believed Ryder could "wretch up the emotional urgency and yet find layers and nuance and different sides of [Joyce]". Ryder praised that the show's multiple storylines required her to act for Joyce as "she's out of her mind, but she's actually kind of onto something", and that the producers had faith she could pull off the difficult role.[36] Upon being offered the role, Ryder felt intrigued at being given the pilot's script due to know knowing what streaming was and finding it "terrifying", with her sole condition to the Duffers for accepting the role being that, if a Beetlejuice sequel ever materialized as she and Tim Burton had been discussing since 2000, they had to let her take a break to shoot it, a condition the Duffers agreed and ultimately proved to work out when Beetlejuice Beetlejuice was greenlighted years later.[37] The Duffer Brothers had been interested in Harbour before, who until Stranger Things primarily had smaller roles as villainous characters, and they felt that he had been "waiting too long for this opportunity" to play a lead, while Harbour himself was thrilled by the script and the chance to play "a broken, flawed, anti-hero character".[21][38] Additional casting followed two months later with Finn Wolfhard as Mike, Millie Bobby Brown in an undisclosed role, Gaten Matarazzo as Dustin Henderson, Caleb McLaughlin as Lucas Sinclair, Natalia Dyer as Nancy Wheeler, and Charlie Heaton as Jonathan Byers]].[3] In September 2015, Cara Buono joined the cast as Karen Wheeler,[6] followed by Matthew Modine as Martin Brenner a month later.[7] Additional cast who recur for the first season include Noah Schnapp as Will,[3][5] Shannon Purser as Barbara "Barb" Holland,[8] Joe Keery as Steve Harrington,[39][5] and Ross Partridge as Lonnie Byers,[9] among others. Actors auditioning for the children's roles read lines from Stand By Me.[14] The Duffer Brothers estimated they went through about a thousand different child actors for the roles. They noted that Wolfhard was already "a movie buff" of the films from the 1980s period and easily filled the role, while they found Matarazzo's audition to be much more authentic than most of the other audition tapes, and selected him after a single viewing of his audition tape.[15] As casting was started immediately after Netflix greenlit the show, and prior to the scripts being fully completed, this allowed some of the actors' takes on the roles to reflect into the script. The casting of the young actors for Will and his friends had been done just after the first script was completed, and subsequent scripts incorporated aspects from these actors.[32] The brothers said Modine provided significant input on the character of Dr. Brenner, whom they had not really fleshed out before as they considered him the hardest character to write for given his limited appearances within the narrative.[34] Filming The brothers had desired to film the series around the Long Island area to match the initial Montauk concept. However, with filming scheduled to take place in November 2015, it was difficult to shoot in Long Island in the cold weather, and the production started scouting locations in and around the Atlanta, Georgia area. The brothers, who grew up in North Carolina, found many places that reminded them of their own childhoods in that area, and felt the area would work well with the narrative shift to the fictional town of Hawkins, Indiana.[20] The filming of the first season began on September 25, 2015, and was extensively done in Atlanta, Georgia, with The Duffer Brothers and Levy handling the direction of individual episodes.[40] Jackson served as the basis of the fictional town of Hawkins, Indiana.[41][42] Other shooting locations included the Georgia Mental Health Institute as the Hawkins National Laboratory site, Bellwood Quarry, Patrick Henry High School in Stockbridge, Georgia, for the middle and high school scenes,[43] Emory University's Continuing Education Department, the former city hall in Douglasville, Georgia, Georgia International Horse Park, the probate court in Butts County, Georgia, Old East Point Library and East Point First Baptist Church in East Point, Georgia, Fayetteville, Georgia, Stone Mountain Park, Palmetto, Georgia, and Winston, Georgia.[44] Set work was done at Screen Gem Studios in Atlanta.[44] The series was filmed with a Red Dragon digital camera.[34] Filming for the first season concluded in early 2016.[41] While filming, the brothers tried to capture shots that could be seen as homages to many of the 1980s references they recalled. Their goal was not necessarily to fill the work with these references, but instead to make the series seem to the viewer like a 1980s film.[21] They spent little time reviewing those works and instead went by memory. Matt further recognized that some of their filming homages were not purposely done but were found to be very comparable, as highlighted by a fan-made video comparing the show to several 1980s works side by side.[14][45] Matt commented on the video that "Some were deliberate and some were subconscious."[14] The brothers recognized that many of the iconic scenes from these 1980s films, such as with Poltergeist, was about "taking a very ordinary object that people deal with every day, their television set, and imbuing it with something otherworldly", leading to the idea of using the Christmas light strings for Will to communicate with Joyce.[21] The brothers attributed much of the 1980s feel to set and costume designers and the soundtrack composers that helped to recreate the era for them.[14] Lynda Reiss, the head of props, had about a $220,000 budget, similar to most films, to acquire artifacts of the 1980s, using eBay and searching through flea markets and estate sales around the Atlanta area. The bulk of the props were original items from the 1980s with only a few pieces, such as the Dungeons & Dragons books made as replicas.[46] Visual effects To create the aged effect for the series, a film grain was added over the footage, which was captured by scanning in film stock from the 1980s.[34] The Duffers wanted to scare the audience, but not to necessarily make the show violent or gory, following in line with how the 1980s Amblin Entertainment films drove the creation of the PG-13 movie rating. It was "much more about mood and atmosphere and suspense and dread than they are about gore", though they were not afraid to push into more scary elements, particularly towards the end of the first season.[34] The brothers had wanted to avoid any computer-generated effects for the monster and other parts of the series and stay with practical effects. However, the six-month filming time left them little time to plan out and test practical effects rigs for some of the shots. They went with a middle ground of using constructed props including one for the monster whenever they could, but for other shots, such as when the monster bursts through a wall, they opted to use digital effects. Post-production on the first season was completed the week before it was released on Netflix.[14] The title sequence uses closeups of the letters in the Stranger Things title with a red tint against a black background as they slide into place within the title. The sequence was created by the studio Imaginary Forces, formerly part of R/GA, led by creative director Michelle Doughtey.[47] Levy introduced the studio to The Duffer Brothers, who explained their vision of the 1980s-inspired show, which helped the studio to fix the concept the producers wanted. Later, but prior to filming, the producers sent Imaginary Forces the pilot script, the synth-heavy background music for the titles, as well as the various book covers from King and other authors that they had used to establish the title and imagery, and were looking for a similar approach for the show's titles, primarily using a typographical sequence. They took inspiration from several title sequences of works from the 1980s that were previously designed by Richard Greenberg under R/GA, such as Altered States and The Dead Zone. They also got input from Dan Perri, who worked on the title credits of several 1980s films. Various iterations included having letters vanish, to reflect the "missing" theme of the show, and having letters cast shadows on others, alluding to the mysteries, before settling into the sliding letters. The studio began working on the title sequence before filming and took about a month off during the filming process to let the producers get immersed in the show and come back with more input. Initially, they had been working with various fonts for the title and used close-ups of the best features of these fonts, but near the end the producers wanted to work with ITC Benguiat, requiring them to rework those shots. The final sequence is fully computer-generated, but they took inspiration from testing some practical effects, such as using Kodalith masks as would have been done in the 1980s, to develop the appropriate filters for the rendering software. The individual episode title cards used a "fly-through" approach, similar to the film Bullitt, which the producers had suggested to the studio.[48] Music Main articles: Music of Stranger Things and Stranger Things (soundtrack) The Stranger Things original soundtrack was composed by Michael Stein and Kyle Dixon of the electronic band Survive.[49] It makes extensive use of synthesizers in homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi.[50] According to Stein and Dixon, The Duffer Brothers had been fans of Survive's music, and used their song "Dirge" for the mock trailer that was used to sell the show to Netflix.[49][51] Once the show was green-lit, the Duffers contacted Survive around July 2015 to ask if they were still doing music; the two provided the production team with dozens of songs from their band's past to gain their interest, helping to land them the role.[49] Once aboard, the two worked with producers to select some of their older music to rework for the show, while developing new music, principally with character motifs.[51] The two had been hired before the casting process, so their motif demos were used and played over the actors' audition tapes, aiding in the casting selection.[51][52] The show's theme is based on an unused work Stein composed much earlier that ended up in the library of work they shared with the production staff, who thought that with some reworking would be good for the opening credits.[49] The first season's original soundtrack, consisting of 75 songs from Dixon and Stein split across two volumes, was released by Lakeshore Records. Digital release and streaming options were released on August 10 and 19, 2016 for the two volumes, respectively, while retail versions were available on September 16 and 23, 2016.[53][54] In addition to original music, Stranger Things features period music from artists including The Clash, Toto, New Order, The Bangles, Foreigner, Echo and the Bunnymen, Peter Gabriel and Corey Hart, as well as excerpts from Tangerine Dream, John Carpenter and Vangelis.[54][55] In particular, The Clash's "Should I Stay or Should I Go" was specifically picked to play at pivotal moments of the story, such as when Will is trying to communicate with Joyce from the Upside Down.[54] Music supervisor Nora Felder felt the song "furthered the story" and called it an additional, unseen, main character of the season.[56]

Lauren Hartstone is a Creative Director and Partner at Sibling Rivalry, where she's spent the past decade mastering the art of fusing brand architecture with compelling storytelling. From creating iconic title sequences at Imaginary Forces to revolutionizing sports graphics, her journey reveals how creative fearlessness and systematic thinking can transform entire industries.Growing up with a market research executive father and artist mother, Lauren developed an understanding of both human behavior and visual expression. Her obsession with David Fincher's Se7en title sequence led her to Imaginary Forces for five transformative years. At Gretel, she experienced a humbling moment of having to step back and learn systematic branding. Becoming a mother of two fundamentally shifted her leadership approach—embracing merged work-life roles rather than separation.Now revolutionising sports graphics, Lauren's admission of knowing nothing about the sector became her greatest asset. Her philosophy centers on finding stories that already exist, working smarter as a leader, and maintaining excitement about possibility even after decades in the industry.Key moments: Merge branding with storytelling: The most powerful work happens when systematic brand thinking meets emotional narrative craft—they're not separate disciplines but symbiotic forces that strengthen each otherThe story is usually already there: Stop searching for manufactured insights and bigger concepts outside—the most authentic and resonant stories often exist within the brand, the people, or the culture you're trying to representStrategic fearlessness beats safe permanence: Brands hold back from bold creative choices because they fear permanence, but campaigns are ephemeral—there's more power in being willing to take expressive risks that can evolve over timeFresh perspective is your superpower: Not knowing a sector intimately isn't a weakness—it's an opportunity to bring new eyes, question conventions, and offer what you do best without being constrained by industry dogmaLeadership shifts from hours to impact: As you grow into creative leadership, especially as a parent, your value transforms from volume and hours worked to vision, clarity, and the ability to work smarter and fasterKeep work and life merged, not separated: The stress of maintaining rigid boundaries between creative passion and family responsibilities can be replaced by flexible integration—showing your children what creative work looks like teaches possibilityStay excited about where things could go: After decades in the industry, maintaining genuine enthusiasm for "there's so many places this could go" at the start of each project keeps creativity alive and prevents complacencyFind where you feel your best self: Long-term creative fulfilment requires finding the team, the environment, and the work that allows you to stretch, learn, feel confident, and be authentically yourself. Daring Creativity. Daring Forever. Podcast with Radim Malinic daringcreativity.com | desk@daringcreativity.com Book by Radim Malinic Paperback and Kindle > https://amzn.to/4biTwFcFree audiobook (with Audible trial) > https://geni.us/free-audiobookBook bundles https://novemberuniverse.co.ukLux Coffee Co. https://luxcoffee.co.uk/ (Use: PODCAST for 15% off)November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

Tim Thompson, founder and Chief Revolution Thinker at Rev.Think, shares his extraordinary journey from knocking on Hollywood doors without a resume to becoming the world's leading consultant for creative entrepreneurs. Starting with a bold door-to-door job hunt that landed him roles on the American Music Awards and Oscars, Tim discovered his superpower: shame resilience and the ability to enable others' creative success.After burning out in Hollywood's digital revolution while working on iconic projects like the "Seven" title sequence at Imaginary Forces, Tim made a life-changing decision to attend seminary and rebuild his approach to supporting creative professionals. This spiritual awakening led him to develop his "creative must win" philosophy and the understanding that the creative muse lives in the same brain space as fight-or-flight responses.Tim reveals his framework for creative career longevity through four stages: Artist (talent-based), Auteur (leading others), Curator (promoting others), and Collector (giving it all away for influence). He explains why AI threatens talent-based careers but enhances creativity-driven ones, and how his Rev Community of 700+ business owners represents an industry evolution toward openness, collaboration, and "other-people-ness."Key TakeawaysShame resilience is a creative superpower - The ability to put yourself out there without fear of rejection opens doors that talent alone cannotCreative must win mentality - Support systems should work alongside creatives, not against them, financing their vision while handling logistics and problemsThe muse lives in fight-or-flight mode - Creative entrepreneurs need someone to "guard their back" while they enter the vulnerable state where inspiration strikesFame, fortune, freedom without compromise - These are the three core motivations for entering the creative industry, and careers should be strategically built around oneTechnology follows technique - Understand the creative purpose and method first, then implement technological solutions that support the visionTalent vs. Creativity distinction - Talent can be replaced by AI or younger generations; creativity involves seeing and creating the future, which cannot be automatedOther-people-ness is essential - Long-term success requires generosity, community building, and abundance mentality rather than hoarding opportunitiesPermission granted mindset - Stop asking for permission and start granting it to yourself to take bold creative risks and pursue ambitious visionsIndustry evolution toward openness - The creative industry has matured from secretive competition to collaborative community sharing and mutual supportSpiritual grounding enables longevity - Taking time to reassess values and purpose can prevent burnout and create more sustainable, fulfilling creative careersRevolution requires revelation first - Change happens through curiosity and "aha moments Daring Creativity. Daring Forever. Podcast with Radim Malinic Show questions or suggestions to desk@daringcreativity.com Latest books by Radim MalinicMindful Creative: How to understand and deal with the highs and lows of creative life, career and business Paperback and Kindle > https://amzn.to/4biTwFcFree audiobook (with Audible trial) > https://geni.us/free-audiobookSigned books https://novemberuniverse.co.ukLux Coffee Co. https://luxcoffee.co.uk/ (Use: PODCAST for 15% off)November Universe https://novemberuniverse.co.uk (Use: PODCAST for 10% off)

He joined Pentagram's New York office as partner in 2010. Eddie Opara was born in Wandsworth, London in 1972. He studied graphic design at the London College of Printing and Yale University, where he received his MFA in 1997. He began his career as a designer at ATG and Imaginary Forces and worked as a senior designer/art director at 2×4 before establishing his own studio, The Map Office, in 2005.

We go 1:1 with the one and only Karin Fong—Emmy award-winning director, designer, and founder of the creative agency Imaginary Forces. Check out the corresponding blog post here: https://www.schoolofmotion.com/blog/karin-fong  

Hailing from the twin-island republic of Trinidad and Tobago, Sekani began his journey at Imaginary Forces after attending the Savannah College of Art and Design (SCAD). Sekani possesses a diverse skill set, spanning creative leadership, design, animation, and compositing, allowing him to contribute at any stage of the production pipeline with proficiency. Over the years, Sekani has built an impressive portfolio as a motion designer, extending his work to tech, film and television for high-profile clients including Marvel, Apple HBO, Starz, MTV, Disney, and NFL. Sekani is currently at Block where he started the 3D Motion Design discipline at Cash App and helped create the Block brand. He then started and co-lead Creative Studio, Blocks in house agency before returning to Cash App as a Principal IC. Want to learn more about the amazing Hologram? Click here for 10% off your Looking Glass display! https://go.referralcandy.com/share/B4... or use our Promo code at checkout: FRIEND-B4D7S7Z --- Support this podcast: https://podcasters.spotify.com/pod/show/xrmotinon/support

Ronnie Koff is a creative director at Imaginary Forces doing commercials and title sequences. He just got nominated again for Hello Tomorrow (congratulations!), and we talk at length about his design process, working in the title business and how things are changing in the field.

Lauren Hartstone is someone I've always looked up to as a designer, and after working with her on a couple of amazing projects, can now also call a friend. I love how clear and precise her work his, and how that also translates to her style as a team leader. Lauren is an Executive Creative Director (and now partner) at Sibling Rivalry in NY, and previously worked at Gretel and Imaginary Forces. We talk about roles in design practice, levels of involvement, teams and clients - and how I think women are generally better than men at it! A wonderful conversation. Personal website https://www.lhartstone.com/ Sibling Rivalry https://www.siblingrivalry.com/

Alan is a director at Imaginary Forces and a longtime friend. He's behind titles like Vinyl, Anne with an E, For All Mankind and projects like The Oscars show package, VS Rules SK-II and Curb Your Enthusiasm. He's also a very kind human, known in the industry for being so easy to work with, and someone who's always ready to collaborate with teams large and small. Be sure to listen to this one, a true gem of an episode. Alan Williams website https://www.ohmagicohwonder.com/ IF Alan Williams profile https://imaginaryforces.com/bio/alan-williams

Opening or closing credits have become a key part of the cinematic or televisual experience. In just a few minutes, these mini masterpieces have to convey the essence of the film or TV show in terms of its vision, music, and characters, and they serve a legal requirement in listing its cast and crew. Joining Chris this week is Karin Fong, who tells the story of how she became title designer for an array of productions including Spider-Man: No Way Home, Cowboy Bebop, Boardwalk Empire, and many more. She delves into how titles fit into the production of a film, how she makes artistic choices, and reveals how credits have become a powerful marketing tool in the age of the internet.

In this fourth and final lecture, John Bell discusses how William Shakespeare imagined a different world and encouraged his audience to do the same.

Joe Garrity was studying Molecular Biology. Instead he ended up on Saturday Night Live. That lead to a job at Pixar. His coworkers helped him with his (award-winning) short, Twinsburg. Then he went on tour for a while with a Canadian pop band. Now he's getting his MFA in screenwriting. Timecodes 2:05 | Biochemistry > SNL Errand Boy 9:54 | Genetics Script 15:17 | Quitting or Doubling Down 18:49 | Screenwriting MFA 28:48 | Story Math 36:35 | Twinsburg 48:48 | What Makes a Great Script 1:05:03 | Marketing Your Short 1:10:57 | Working at Pixar 1:25:57 | Pixar Culture 1:39:36 | Pixar > Imaginary Forces 1:48:55 | Alvvays Touring Setup 1:57:03 | Tour Experience 2:02:44 | Being the Messy Twin is Good 2:08:00 | Leading the Watergate Doc 2:15:15 | Outro

Having worked at Imaginary Forces and The Mill, Austin is a gentle giant of CGI and rendering's technical minutiae. He shares some secrets and speculates on digital imagery's relationship with the fate of our species. Timecodes 5:00 | Early Mistakes 15:10 | Imaginary Forces & HBO 19:18 | Getting to the Mill 26:45 | GPU Democratization 31:18 | Austin Loves Halation 47:46 | Micronormals & Shader Tips 55:55 | Respect the Content 1:14:52 | The Future of Digital Imagery 1:21:53 | The Realtime Tik Tok Campaign Hellscape 1:27:29 | Epic's Metaverse vs. Meat World 1:33:44 | Aliens in the Metaverse 1:44:52 | Digital Worlds = Human Rights Violations 1:49:57 | Being Artsy AND Happy 2:01:18 | Wrap Up

Highlights from the conversation:We have to give a shit. And our employees have to give a shit about the things we give a shit aboutAny great brand is a convergence of both functional and emotional componentsWhen everybody's going heavily into their data, it leaves space for a really good storyYou’re not for all. Generalisation isn't doing anybody any favoursBe super specific about what's important to you and who you serve, because that can be a gamechangerI drive a lot of motivation from what I want to change, what I'm frustrated with, or angry atMore about KarinUnder 15% of global executive creative agency leaders are women — Karin Fyhrie is one of them. She confidently steers Top 50 brands, globally renowned cultural institutions, and market-leading start-ups into the future, thanks to her unconventional path. Over two decades, she’s evolved as quickly as the industry has, building a uniquely diverse perspective as expansive as the word ‘design’ has become thanks to tenures at COLLINS, IDEO, Google Creative Lab, Imaginary Forces, and even a VR residency through Stanford. With this cross-specialism insight, she comfortably transitions between product and service innovation, brand strategy, storytelling, and systemic creative direction for the private, public, and nonprofit sectors. Her contributions have been recognized by D&AD, The One Club, Fast Company, Graphis, Eye Magazine, Communication Arts, AIGA, the Society of Publication Designers, Type Directors Club, and the Emmy Awards.In her most recent position, Karin was the San Francisco Managing Partner of COLLINS, the design and strategy agency responsible for notable rebrands of Spotify, Robinhood, Dropbox, Mailchimp and the San Francisco Symphony. While leading the west coast office, COLLINS was (twice) consecutively named “Design Agency of the Year” by Ad Age (2019-2020) as well as one of the 50 Places Creative People Want to Work Next by Working Not Working. In 2020, she helped launch COLLINS’ first-ever editorial site, IDEAS, while simultaneously spearheading the company’s internal DEI initiatives; helping to triple the impact of its internship program committed to creatively-inclined students of colour.As of 2021, Karin launched her own studio, Sovereign Objects, a brand and innovation firm advancing the arts, culture, and science. Partnerships focus on ways that reimagine economic and/or organizational models to redistribute power and prosperity. Current clients include everything from stealth stage start-ups in the creator economy to high-impact non-profits like the Obama Foundation. On the side, she also consults through Mixing Board, a think tank  of brand and communications leaders that provide their expertise, mentorship and help with building teams to organizations looking for advice. Mixing Board community members are CMOs, heads of comms, seasoned brand strategists, social and content experts, community builders, researchers, speechwriters and policy veterans.Find Karin here: LinkedIn | Website Show NotesPeople:Bailey RichardsonBen CrickVanessa SequeiraMolly HaywardCompanies and organisations:COLLINSIDEOBumblePeople & CompanyMiroB CorpMiscellaneous:Ask Dr. Ruth (Documentary) Gestalt Principles

Jeff Price has an extensive background in game design, electronic media, interactive communications, and graphic design. Teaching at Oklahoma City University, Jeff draws from 20+ years of experience as an Associate Professor of Gaming and Animation at Sam Houston State University and Oklahoma State University, Assistant Professor of Interactive Design at Virginia Commonwealth University, and his experience as the owner of Price Media Group. Jeff 's experience in the design and development of websites and web-based communications, as well as interactive multimedia and CD-ROM projects, led him to launch Price Media Group in 2000. As principal of PMG, Price has won several industry awards in video, animation, interactive, and print design.At VCU, Jeff was the director of the Advanced Visualization Lab, focusing on the delivery of traditional and 3d computer animation and virtual reality applications. He has worked for multi-service design and advertising agencies and has developed print design, signage, logos, and a/v presentations.Jeff's students have gone on to work at industry giants such as Dreamworks, Sony Imageworks, Digital Domain, ID Software, Imaginary Forces, Magnet Interactive, Organic, Blur, Midway Games, and Big Idea.

Jeff Price has an extensive background in game design, electronic media, interactive communications, and graphic design. Teaching at Oklahoma City University, Jeff draws from 20+ years of experience as an Associate Professor of Gaming and Animation at Sam Houston State University and Oklahoma State University, Assistant Professor of Interactive Design at Virginia Commonwealth University, and his experience as the owner of Price Media Group. Jeff's experience in the design and development of websites and web-based communications, as well as interactive multimedia and CD-ROM projects, led him to launch Price Media Group in 2000. As principal of PMG, Price has won several industry awards in video, animation, interactive, and print design. At VCU, Jeff was the director of the Advanced Visualization Lab, focusing on the delivery of traditional and 3d computer animation and virtual reality applications. He has worked for multi-service design and advertising agencies and has developed print design, signage, logos, and a/v presentations. Jeff's students have gone on to work at industry giants such as Dreamworks, Sony Imageworks, Digital Domain, ID Software, Imaginary Forces, Magnet Interactive, Organic, Blur, Midway Games, and Big Idea. The Oklahoma Venture Forum (OVF) is the state's preeminent organization fostering innovation and economic growth. We introduce investors, mentors and support organizations to entrepreneurs, providing collaborative venues for sharing ideas. OVF champions small businesses and economic development by connecting and recognizing venture talents. Since our beginning, we have acted as the preeminent ecosystem for business innovation and entrepreneurship development. Our diverse membership includes investors, entrepreneurs, and service providers from a wide array of statewide industries. www.OVF.org

"The entire lifeline of this whole industry… no one has finished it yet… so we are all imposters, to a degree." – Ryan Summers In this episode of the RevThinking podcast, Joel Pilger speaks with Ryan Summers, Creative Director at School of Motion. Ryan is a creative leader whose career has spanned major brands as well as top studios such as Digital Kitchen, We Are Royale, Blur Studios, Oddfellows, Midnight Sherpa, and Imaginary Forces. The field of motion design is still relatively young yet our industry has undergone substantial changes in a short period of time. Since no single individual has lived out an entire career – much less a lifetime – in our industry, how can anyone know what to expect? So while some are thriving, others are frustrated or disillusioned. Why? Ryan challenges motion designers to view our industry in a more entrepreneurial way and consider opportunities to own what we create.

Eddie Opara is a Pentagram partner whose work spans design, technology, and strategy. He previously ran his own studio, The Map office, and worked as a designer at 2x4 and Imaginary Forces. In this episode, Jarrett and Eddie talk about questioning the brief, why his work is considered enigmatic, and thinking about your legacy. Links from this episode can be found at scratchingthesurface.fm.

In this episode, we chat with Imaginary Forces' Creative Director Grant Lau about how he got started creating opening titles and how he ended up as part of the dream team at Imaginary Forces. Lau shares his creative process for his most recent work, Starz's 'The Rook' -- a kaleidoscope of Easter-egg-stuffed imagery. Tune in to hear what Lau has to say about working in one of the most creative and challenging areas of entertainment marketing.

Spider-Man: Into the Spider-Verse developed a new approach to computer animation so as to translate the comic-book experience for the big screen. Academy voters took notice and awarded the film an Oscar for Best Animated Feature. One of the last things that moviegoers see before leaving the film is the hyperkinetic title sequence animated by visual studio Alma Mater. The sequence was featured at SXSW 2019 in a compilation of compelling title sequences, and it made enough of an impression that it won SXSW's jury-awarded Excellence in Title Design accolade. As part of my festival coverage of SXSW 2019, I sat down with title sequence co-director James Ramirez to learn more about what went into making the sequence. Some of the things we discuss include The different styles of animation that went into the sequence and how they put it together in Cinema 4D How they worked with the filmmakers behind Spider-Man: Into the Spider-Verse to supplement the ideas and characters of the film The way they implemented the half-tone look What filmmakers should keep in mind when planning for a title sequence # Related Episode To hear more about how vintage animation styles have influenced computer animation, check out this interview with Limbert Fabian and Brandon Oldenburg, Oscar-winning directors from Moonbot Studios, in Shreveport, Louisiana. # Sponsor for this Episode nsavides productions – I make videos and tell stories. Some of my videos are here. # Say hello: podcast@nsavides.com # Related Things Alma Mater Jame's site, friedpixels.com James on Instagram, Twitter This Art of the Title article provides an in-depth discussion with illustrations about how the title sequence came together. James gave a shout out to the Deadpool 2 title sequence. Imaginary Forces, one of the agencies whose work James admires, worked on titles for Stranger Things and Mad Men. Jack Kirby, an early Spider-Man artist, provided design inspiration for both the film and title sequence of Into the Spider-Verse.  While we didn't get to discuss this in the interview, James also did some motion graphics work on Stranger Than Fiction, a film that has been a big inspiration for me. My interview with Stranger Than Fiction's producer Lindsay Doran is over here. Shortcut for the podcast: nicksav.show Additional music for the show provided by Rob Costlow. Concept Art  Ben Apley, producer for Alma Mater's Into the Spider-Verse title sequence, graciously shared some images to illustrate how the concept developed. Visit show page to see. # If You Liked the Show Sign up for The nsavides Newsletter. Subscribe or leave an honest review:   Apple Podcasts   Spotify   Overcast Say hello on Twitter:  @nsavidesPRO Thank you for visiting!  

NEW YOUTUBE PAGE!: https://www.youtube.com/channel/UCHlQVnRbxDNdIHNvoVD-CRwSeason 4 starts in two weeks!https://www.patreon.com/werenotafraidofthedarkhttps://www.instagram.com/werenotafraidofthedark/https://www.facebook.com/werenotafraidofthedark/werenotafraidofthedark@gmail.comIntro theme by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkhttps://www.businessinsider.com/shaq-learned-kazaam-shaq-fu-reboot-failure-strategy-lessons-2017-11http://www.vulture.com/2012/04/shaq-has-a-pretty-reasonable-explanation-for-kazaam.htmlBinder, Mike, dir. Blankman (1994). Columbia Pictures Corporation, Wife 'n' Kids. https://www.imdb.com/title/tt0109288/Cannon, Danny, dir. Judge Dredd (1995). Hollywood Pictures, Cinergi Pictures Entertainment, Edward R. Pressman Productions. https://www.imdb.com/title/tt0113492/Coto, Manny, dir. Star Kid (1997). JLT Productions, Trimark Pictures. https://www.imdb.com/title/tt0120478/Dobbins, Amanda. Shaq Has a Pretty Reasonable Explanation for Kazaam. Vulture. April 3, 2012. http://www.vulture.com/2012/04/shaq-has-a-pretty-reasonable-explanation-for-kazaam.htmlFortenberry, John, dir. Jury Duty (1995). TriStar Pictures, Triumph Films, Weasel Productions. https://www.imdb.com/title/tt0113500/Glaser, Paul Michael. 1996. Kazaam. Buena Vista Pictures. https://www.imdb.com/title/tt0116756/Hogan, David, dir. Barb Wire (1996). Polygram Filmed Entertainment, Propaganda Films, Dark Horse Entertainment. https://www.imdb.com/title/tt0115624/Jean, Al, & Reiss, Mike, creators. The Critic (1994-1995). Columbia Pictures Television, Film Roman Productions, Gracie Films. https://www.imdb.com/title/tt0108734/Johnson, Kenneth, dir. Steel (1997). DC Entertainment, Quincy Jones-David Salzman Entertainment, Warner Bros. https://www.imdb.com/title/tt0120207/O'Neal, Shaquille. 1993. Shaq diesel. New York, NY: Jive,. sound recording.NBA 2K18 Legend Edition. Video game. Released September 15, 2017. Developed by Visual Concepts. Published by 2K Games, 2K Sports, EA Sports. NBA Jam. Video game series. Year of inception 1993. Developed and published by Midway, Acclaim, Electronic Arts.Nolan, Liam. "Shaquille O’Neal Wants to Join Marvels Avengers, Reboot DCs Steel." CBR. January 17, 2018. Accessed August 12, 2018 https://www.cbr.com/shaquille-oneal-avengers-reboot-steel/Norrington, Stephen, dir. Blade (1998). Amen Ra Films, Imaginary Forces, Marvel Enterprises. https://www.imdb.com/title/tt0120611/Parks, Gordon, dir. Shaft (1971). Metro-Goldwyn-Mayer (MGM), Shaft Productions. https://www.imdb.com/title/tt0067741/Pytka, Joe, dir. Space Jam (1996). Warner Bros. Family Entertainment, Northern Lights Entertainment, Courtside Seats Productions. https://www.imdb.com/title/tt0117705/Ransome, Noel. "Twenty Years Later, 'Steel' Director Admits Shaq Was Probably a Bad Choice." Vice. August 14, 2017. Accessed August 12, 2018. https://www.vice.com/en_ca/article/evvnwn/twenty-years-later-steel-director-admits-shaq-was-probably-a-bad-choice.Schumacher, Joel, dir. Batman & Robin (1997). Warner Bros., PolyGram Filmed Entertainment. https://www.imdb.com/title/tt0118688/Sonnenfeld, Barry, dir. Wild Wild West (1999). Peters Entertainment, Sonnenfeld Josephson Worldwide Entertainment, Todman, Simon, LeMasters Productions. https://www.imdb.com/title/tt0120891/Spielberg, Steven, dir. E.T. the Extra-Terrestrial (1982). Universal Pictures, Amblin Entertainment. https://www.imdb.com/title/tt0083866/Talalay, Rachel, dir. Tank Girl (1995). Trilogy Entertainment Group. https://www.imdb.com/title/tt0114614/Townsend, Robert, dir. The Meteor Man (1993). Metro-Goldwyn-Mayer (MGM), Tinsel Townsend. https://www.imdb.com/title/tt0107563/Yo! Noid. Video Game. Released November 22, 1990. Developed by Now Production. Published by Capcom.Zemeckis, Robert, dir. Forrest Gump (1994). Paramount Pictures. https://www.imdb.com/title/tt0109830/

NEW YOUTUBE PAGE!: https://www.youtube.com/channel/UCHlQVnRbxDNdIHNvoVD-CRwSeason 4 starts in two weeks!https://www.patreon.com/werenotafraidofthedarkhttps://www.instagram.com/werenotafraidofthedark/https://www.facebook.com/werenotafraidofthedark/werenotafraidofthedark@gmail.comIntro theme by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkhttps://www.businessinsider.com/shaq-learned-kazaam-shaq-fu-reboot-failure-strategy-lessons-2017-11http://www.vulture.com/2012/04/shaq-has-a-pretty-reasonable-explanation-for-kazaam.htmlBinder, Mike, dir. Blankman (1994). Columbia Pictures Corporation, Wife 'n' Kids. https://www.imdb.com/title/tt0109288/Cannon, Danny, dir. Judge Dredd (1995). Hollywood Pictures, Cinergi Pictures Entertainment, Edward R. Pressman Productions. https://www.imdb.com/title/tt0113492/Coto, Manny, dir. Star Kid (1997). JLT Productions, Trimark Pictures. https://www.imdb.com/title/tt0120478/Dobbins, Amanda. Shaq Has a Pretty Reasonable Explanation for Kazaam. Vulture. April 3, 2012. http://www.vulture.com/2012/04/shaq-has-a-pretty-reasonable-explanation-for-kazaam.htmlFortenberry, John, dir. Jury Duty (1995). TriStar Pictures, Triumph Films, Weasel Productions. https://www.imdb.com/title/tt0113500/Glaser, Paul Michael. 1996. Kazaam. Buena Vista Pictures. https://www.imdb.com/title/tt0116756/Hogan, David, dir. Barb Wire (1996). Polygram Filmed Entertainment, Propaganda Films, Dark Horse Entertainment. https://www.imdb.com/title/tt0115624/Jean, Al, & Reiss, Mike, creators. The Critic (1994-1995). Columbia Pictures Television, Film Roman Productions, Gracie Films. https://www.imdb.com/title/tt0108734/Johnson, Kenneth, dir. Steel (1997). DC Entertainment, Quincy Jones-David Salzman Entertainment, Warner Bros. https://www.imdb.com/title/tt0120207/O'Neal, Shaquille. 1993. Shaq diesel. New York, NY: Jive,. sound recording.NBA 2K18 Legend Edition. Video game. Released September 15, 2017. Developed by Visual Concepts. Published by 2K Games, 2K Sports, EA Sports. NBA Jam. Video game series. Year of inception 1993. Developed and published by Midway, Acclaim, Electronic Arts.Nolan, Liam. "Shaquille O’Neal Wants to Join Marvels Avengers, Reboot DCs Steel." CBR. January 17, 2018. Accessed August 12, 2018 https://www.cbr.com/shaquille-oneal-avengers-reboot-steel/Norrington, Stephen, dir. Blade (1998). Amen Ra Films, Imaginary Forces, Marvel Enterprises. https://www.imdb.com/title/tt0120611/Parks, Gordon, dir. Shaft (1971). Metro-Goldwyn-Mayer (MGM), Shaft Productions. https://www.imdb.com/title/tt0067741/Pytka, Joe, dir. Space Jam (1996). Warner Bros. Family Entertainment, Northern Lights Entertainment, Courtside Seats Productions. https://www.imdb.com/title/tt0117705/Ransome, Noel. "Twenty Years Later, 'Steel' Director Admits Shaq Was Probably a Bad Choice." Vice. August 14, 2017. Accessed August 12, 2018. https://www.vice.com/en_ca/article/evvnwn/twenty-years-later-steel-director-admits-shaq-was-probably-a-bad-choice.Schumacher, Joel, dir. Batman & Robin (1997). Warner Bros., PolyGram Filmed Entertainment. https://www.imdb.com/title/tt0118688/Sonnenfeld, Barry, dir. Wild Wild West (1999). Peters Entertainment, Sonnenfeld Josephson Worldwide Entertainment, Todman, Simon, LeMasters Productions. https://www.imdb.com/title/tt0120891/Spielberg, Steven, dir. E.T. the Extra-Terrestrial (1982). Universal Pictures, Amblin Entertainment. https://www.imdb.com/title/tt0083866/Talalay, Rachel, dir. Tank Girl (1995). Trilogy Entertainment Group. https://www.imdb.com/title/tt0114614/Townsend, Robert, dir. The Meteor Man (1993). Metro-Goldwyn-Mayer (MGM), Tinsel Townsend. https://www.imdb.com/title/tt0107563/Yo! Noid. Video Game. Released November 22, 1990. Developed by Now Production. Published by Capcom.Zemeckis, Robert, dir. Forrest Gump (1994). Paramount Pictures. https://www.imdb.com/title/tt0109830/

Karin Fong is a founding member of Imaginary Forces, a creative company specializing in visual storytelling and brand strategy.

David Kerman graduated from UCSB with a fine arts major and attended Art Center College of Design part time while working in the industry. In 1997, he began his career as a print designer at the Buz Design Group and gained a solid foundation for typography, layout and corporate design. His passion for design evolved beyond the world of print, and learned animation techniques using After Effects and basic 3d. David landed an internship at Blind where he was quickly elevated into a full time, lead designer and animator for four years. In 2003, he served a one year art director position at Fuel where he directed a team of designers and animators at the west coast office. Clients included Mazda, FX Network, Mattel, and Showtime. In 2014, he was a freelance art director at Picture Mill where he led a team to win multiple high profile pitches for film and television contracts. Picture Mill successfully won projects that included Freaks of Nature, Straight Out Of Compton, Mutant Ninja Turtles, Empire and Evinrude Outboard Motors. Currently, David is a freelance art director in California and continues to work with such companies as King and Country, Mocean, Imaginary Forces, Aspect, Royale, Plucky, Big Block, The Famous Group, Ant Farm, Ringer, and BRKLY. In his spare time, he continues to work on his short films, draws comics, surfs, hikes, and builds a ton of legos with his two sons.

Justin Goby Fields is a concept artist and owner of IronKlad Studios. After his career in graphic design and training at the Gnomon School of Visual Effects, he has worked at such studios as Sony ImageWorks, Imaginary Forces, Aaron Sims Company, Amalgamated Dynamics and several others. Some of his film credits include Jupiter Ascending, Noah, The Wolverine, Ragnarock, Noah. In this Episode, Justin talks about his career and gives advice to up-and-coming VFX artists on how to stand out and succeed in the games and film industries. For more show notes, visit www.allanmckay.com/118/.

Brad Kunkle was raised in rural Pennsylvania and graduated from Kutztown University with a BFA in painting in 2001. Rather than continue his artistic pursuits in an academic environment, he became a house painter. That dubious, professional beginning however, taught him valuable lessons that became crucial to his later success. Having taught himself how to gild with precious metals for some of those residential projects, he later implemented those skills in his personal, fine art works. His debut, fine art exhibition in 2010 at Arcadia Contemporary in NYC sold out before the show's opening night and was followed by a second sold-out exhibition two years later. Since then he has exhibited his paintings in New York, Los Angeles, Berlin, London, Miami, and his works can be found in private collections all over the world. His paintings have twice graced the cover of American Art Collector Magazine and have been published extensively online and in print in such highly read publications as Hi-Fructose, American Arts Quarterly, Lapham’s Quarterly, Juxtapoz and Fine Arts Connoisseur. Kunkle continues to be represented by Arcadia Contemporary in Los Angeles, where he had his debut, West Coast solo exhibition in November of 2016. More recently, Kunkle collaborated as an Art Director with the award-winning, special effects house, Imaginary Forces as his paintings became the foundation for the main title sequence of the Netflix original series, “Anne With An E.” He lives and works in New York's Hudson Valley. ​​​​​Topics Discussed In This Episode: Reflecting on his 2016 show “Invisible” Muses Social media misconceptions “The Invisible Man” by H.G. Wells Technical elements behind his work Dreaming and lucid dreaming The benefits of listening to music while you work Meditation Intention in creation Elevating vs. entertaining www.artistdecoded.com www.twitter.com/yoshinostudios

Lauren Hartstone is a new staff creative director at Sibling Rivalry, having worked with a myriad of companies like Stardust, LoyalKasper, MTV, Imaginary Forces, and Gretel. On this week’s episode we talked about the pros and cons of being scatterbrained, how she approaches a pitch, pulling references, and the necessity of learning from other people.   Links : Website : http://lhartstone.com/ Sibling Rivalry : http://siblingrivalrystudio.com/ Imaginary Forces : https://www.imaginaryforces.com/work LoyalKasper : http://www.loyalkaspar.com/ Gretel :  http://gretelny.com/   Notes : -Sibling Rivalry -Background : VH1 -Brands having multiple specialties -Studios moving towards blended operational lines -Pros and Cons of being scatterbrained -Difficulties in modern personal branding -MTV -Stardust -Recognizing the need to learn from other people -LoyalKasper -Approaching a pitch -Pre production process -Setting the style with a team/creative collaborative process -Where to find references -Imaginary Forces -Narrative work and title sequences -The Pacific -Dusk -Pitching something you’ve never attempted be -Perspective and being mindful of the bigger picture -Presenting a handful of directions -Slack -Pulling and utilizing a reference bank -Gretel -Brand immersion and concept research -Overcoming burnout -Work/Life Balance -Mindsets -The Future : storytelling - Dream Client: Nike - Favorite Animated Film: Doesn’t have one. But her daughter will only watch Frozen. - What does your family think you do: I think they think I color.

You wanted more, so we got more! Entrepreneur and all-around badass Chris Do joins us once again to touch base on some of the topics we discussed in our last episode, and we touch base on his recent ventures, how he manages it all, and where he currently is in life. GUEST LINKS: TheFutur: https://www.thefutur.com/ Chris's Twitter: https://twitter.com/thechrisdo TheFutur on Twitter: https://twitter.com/thefuturishere TheFutur on Facebook: https://www.facebook.com/theFuturisHere/ Blind: https://blind.com/ Chris's Motionographer Article: http://motionographer.com/2016/07/25/are-you-a-bricklayer-or-an-art-director-chris-do-explains/ ------------------------------ The Collective Newsletter: http://www.thecollectivepodcast.com/newsletter Subscribe on iTunes: http://www.thecollectivepodcast.com/itunes Subscribe via RSS: http://www.thecollectivepodcast.com/rss Like us on Facebook: http://www.facebook.com/thecollectivepodcast Follow us on Twitter: https://www.twitter.com/thecpodcast ------------------------------ SHOW NOTES: Figure Drawing: http://amzn.to/2uBKxyr Damn Good Advice (For People with Talent!): http://amzn.to/2vABDOR Overcome Fears, Insecurity, Feeling Overwhelmed & Start Posting on Social Media: https://www.youtube.com/watch?v=pYxILzVu35A R/GA: https://www.rga.com/ Imaginary Forces: https://www.imaginaryforces.com/ Karate Kid: http://www.imdb.com/title/tt0087538/ The views and opinions expressed in this podcast are solely those of the speakers and do not necessarily reflect the views of their employers.

The Marvel Symphonic Universe Video Essay by Tony Zhou - https://www.youtube.com/watch?v=7vfqkvwW2fs INTRO MUSIC Marvel Studios Fanfare(2002) original created by Imaginary Forces - https://www.youtube.com/watch?v=HVfozPc_iqc Marvel Studios Fanfare(2013) by Brian Tyler - https://www.youtube.com/watch?v=a1vWUe83LsQ Marvel Studios Fanfare(2016) by Michael Giacchino - https://www.youtube.com/watch?v=ZKxxmxU8GNo 10:28 Marvel Studios Fanfare(2013) heard again 16:10 Extra Dry, Extra Olives by Ramin Djawadi(Iron Man) - https://www.youtube.com/watch?v=mWst1UfCDHM 19:36 Iron Man by Ramin Djawadi(Iron Man) - https://www.youtube.com/watch?v=m7jrsVN4z44 24:27 Mark ll by Ramin Djawadi(Iron Man) - https://www.youtube.com/watch?v=9NxrQipUkwg 37:02 Prologue by Patrick Doyle(Thor) - https://www.youtube.com/watch?v=VQ7iWnKyDeI 40:47 Forgive Me by Patrick Doyle(Thor) - https://www.youtube.com/watch?v=pyMLR4geOfk 45:00 Scene from Thor - https://www.youtube.com/watch?v=yx6PlKjXTQ0 57:07 Autobots by Steve Jablonsky(Transformers) - https://www.youtube.com/watch?v=WEL5atUKRZQ&list=PLFA8BC10FB73B2477 1:01:30 How many damn songs have this same tune? v2 - https://www.youtube.com/watch?v=rcX8fwSPsc4 1:02:25 4 Chords | Music Videos | The Axis Of Awesome - https://www.youtube.com/watch?v=oOlDewpCfZQ 1:04:49 Music and Emotions in the Brain: Familiarity Matters - http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0027241 1:07:40 Captain America by Alan Silvestri(Captain America: The First Avenger) - https://www.youtube.com/watch?v=QDhAyA3djWQ 1:09:09 Star Spangled Man by Alan Silvestri(Captain America: The First Avenger) - https://www.youtube.com/watch?v=0uTh4VE30fw 1:09:34 Iron Man by Jack Urbont(Iron Man) - https://www.youtube.com/watch?v=nfyM6-eTlY4 1:10:08 Iron Man 2008 version by John O'Brien Rick Boston(Iron Man) - https://www.youtube.com/watch?v=EkPZD7peQ-k 1:28:19 Scott Surfs on Ants by Christophe Beck (Ant-Man) - https://www.youtube.com/watch?v=JfOp0PC8qsY 1:28:28 Tales to Astonish! by Christophe Beck(Ant-Man) - https://www.youtube.com/watch?v=8cPCSbdJNgs 1:31:09 Cap's Promise by Henry Jackman(Captain America: Civil War) - https://www.youtube.com/watch?v=ThxVDSW22cc Links: Facebook.com/CapandThor MarvelTalkPodcast@gmail.com @MarvelTalkCast on Twitter and Instagram! Youtube - https://www.youtube.com/channel/UCkfT4MwHqIcu1cMxnjRTCyw Shelby - @vegetax6 Connor - @mjolnirsmight #StayAvengersStrong #TeamSteve

California native and Yale graduate Karin Fong is a Designer and Director whose influence in the film, television, gaming, AND advertising industries is nothing short of inspirational. Her elevated aesthetic and ability to convey emotion through visuals has proved consistent in her never faltering body of work. These works include opening titles for Boardwalk Empire, South Park, and Black Sail. In addition, she's worked on main titles for feature films, helmed projects for Target and Honda, and created the cinematic for the PlayStation game God of War 3. Karin is one of the founding members of Imaginary Forces and is currently based in the LA studio. LINKS http://www.karinfong.com/ http://imaginaryforces.com/ Twitter: https://twitter.com/karin_fong

Tim Thompson is a consultant and Chief Revolution Thinker at RevThink. In this episode, Joel Pilger interviews RevThink's founder to learn about Tim’s early days in the industry – from working on the film titles for “Seven” to the launching of Imaginary Forces to the meteoric rise of Trailer Park – and the eventual shift to consulting his friends running creative firms.

Tim Thompson is a consultant and Chief Revolution Thinker at RevThink. In this episode, Joel Pilger interviews RevThink's founder to learn about Tim’s early days in the industry – from working on the film titles for “Seven” to the launching of Imaginary Forces to the meteoric rise of Trailer Park – and the eventual shift to consulting his friends running creative firms.

Colin Hesterly is a freelance Director & Artist working within the animation industry based in Denver, CO. During our conversation, he shared about the importance of client feedback, learning to say no and how to give up control to other creatives within projects.   Links: Twitter: https://twitter.com/colinhesterly Not to Scale: http://nottoscale.tv "The Empire:" https://vimeo.com/12496923 "When I Grow Up:" https://vimeo.com/51704432   Highlights: - Went to Full Sail University - "You mean I can take pictures that I draw and make them move?" - 5 years ago: "The Empire" - deleted a Vimeo Staff Pick, but his second one got him a ton of emails - internship in California with Buck - Worked with Imaginary Forces after Buck - Then worked at Royale - Difficulty balancing time - Worked at Hollister - Directing TV shows - New project for a TV show for preschoolers  - Short film out for Christmas - Time is spent figuring out how to expand past just client work - Dream client: The People - Favorite animated film: toss up between Winnie the Pooh and Pocahontas  - Animalator is fish because of his daughter

The Foundry brings together some of the best VFX studios in Australia and abroad to articulate through specific case studies and demonstrations the endless possibilities that compositing, 3D, and animation software bring to a production. Recorded: 14 February 2015

Imaginary Forces co-founder, creative partner at Wonderland Sound and Vision, and world-renowned creative director Karin Fong joins us this week to discuss the tricky topic of finding your creative calling, some of her experiences becoming a mother and raising children, and some wonderful stories about the founding of the legendary design studio Imaginary Forces. Later in the episode, Karin exclusively reveals some exciting new information regarding a new Motion Design category for The Emmy Awards. To find out more information, follow the link in the show notes below. ** Grand Theft Auto spoilers around 1h 40m ** GUEST LINKS: Karin's Website: http://www.karinfong.com/ Karin's Twitter: https://twitter.com/karin_fong God of War: Ascension: https://vimeo.com/58750742 Black Sails: http://www.artofthetitle.com/title/black-sails/ Rubicon: http://www.artofthetitle.com/title/rubicon/ Boardwalk Empire: http://www.artofthetitle.com/title/boardwalk-empire/ Imaginary Forces: http://imaginaryforces.com/ Emmys Motion Design Category: http://motionographer.com/2015/05/04/primetime-emmys-adds-motion-design-category/ The Emmy Awards: http://emmys.com/ ------------------------------ Subscribe on iTunes: http://www.thecollectivepodcast.com/itunes Subscribe via RSS: http://www.thecollectivepodcast.com/rss Like us on Facebook: http://www.facebook.com/thecollectivepodcast Follow us on Twitter: https://www.twitter.com/thecpodcast ------------------------------ SHOW NOTES: McG: http://www.imdb.com/name/nm0629334/ Joan Ganz Cooney: http://en.wikipedia.org/wiki/Joan_Ganz_Cooney The Point!: http://amzn.to/1Fc0zw8 Street Gang: The Complete History of Sesame Street: http://amzn.to/1AUDxVl Kyle Cooper: http://en.wikipedia.org/wiki/Kyle_Cooper Extra Lives: Why Video Games Matter: http://amzn.to/1IGLsxn “I think trust is really something incredibly important in a creative life … If somebody feels like they're being not listened to, or taken advantage of, then that's not how you get good creative work.” -Karin Fong The views and opinions expressed in this podcast are solely those of the speakers and do not necessarily reflect the views of their employers.

Mantis Radio 101 + Imaginary Forces DVNT Automatic Tasty – Over The Hill [Lunar Disko] Mat Lionis – Src Kinases [dub] Withering Zithering – Recombinant Organism [Acre Recordings] Withering Zithering – Looking At And Looking For [Acre Recordings] COVA – Batria [Terrain Ahead] Ukkonen – Tresgradus [Uncharted Audio] Slam – Groovelock (Deepchord Centrum remix) [Soma Records] Anodyne – Bs-6 [Acroplane] Machine Gun Militia – Machine Gun Skank [Oeuvre] Ingen – Subway [dub] Bran Lanen – Soul Over Mechanics [Cicuta Netlabel] Voidloss – Diaphanous Fever of Dreams [Singularity] David Meiser – Waves of Pressure [mental remake] [dub] Warlock – Space Junk [Rag and Bone] Lighter Thief – Like Dat (Kirk Degiorgio remix) [beardman] Radical G – Shadowdancing (_Unsubscribe_ remix) [The Public Stand] Moony – Blast [Ghost House Records] Deset – Crisis V.I.P [Ghost House Records] George Lanham – This Sceptical Isle [The Zone Records] Warlock – No Half Measures [Rag and Bone] MOTOR – Man Made Machine (Extended) [CLR] IMAGINARY FORCES Imaginary Forces – Live Improvisation Karl O’Connor + Mick Harris – We Can Elude Control Coil – Strange Birds Autechre – Perlence Subrange 6-36 William S Burroughs – Wonderful Copenhagen Kenneth Kirschner – 100810 Sleeparchive – 10 Years, 3 Beers, 3 Albums And No Seat Ilpo Väisänen – Asumaton Antti Rannisto – Ääniesineitä 7 Pan Sonic – Corona Sleeparchive – 10 Years, 3 Beers, 3 Albums And No Seat Imaginary Forces – Återstående Laddning Imaginary Forces – Materia Flöde Imaginary Forces – Kall Luft Imaginary Forces feat Matthew Saw – Slutvinjett Imaginary Forces – Låg Flex

Mantis Radio 101 + Imaginary Forces DVNT Automatic Tasty – Over The Hill [Lunar Disko] Mat Lionis – Src Kinases [dub] Withering Zithering – Recombinant Organism [Acre Recordings] Withering Zithering – Looking At And Looking For [Acre Recordings] COVA – Batria [Terrain Ahead] Ukkonen – Tresgradus [Uncharted Audio] Slam – Groovelock (Deepchord Centrum remix) [Soma Records] Anodyne – Bs-6 [Acroplane] Machine Gun Militia – Machine Gun Skank [Oeuvre] Ingen – Subway [dub] Bran Lanen – Soul Over Mechanics [Cicuta Netlabel] Voidloss – Diaphanous Fever of Dreams [Singularity] David Meiser – Waves of Pressure [mental remake] [dub] Warlock – Space Junk [Rag and Bone] Lighter Thief – Like Dat (Kirk Degiorgio remix) [beardman] Radical G – Shadowdancing (_Unsubscribe_ remix) [The Public Stand] Moony – Blast [Ghost House Records] Deset – Crisis V.I.P [Ghost House Records] George Lanham – This Sceptical Isle [The Zone Records] Warlock – No Half Measures [Rag and Bone] MOTOR – Man Made Machine (Extended) [CLR] IMAGINARY FORCES Imaginary Forces – Live Improvisation Karl O’Connor + Mick Harris – We Can Elude Control Coil – Strange Birds Autechre – Perlence Subrange 6-36 William S Burroughs – Wonderful Copenhagen Kenneth Kirschner – 100810 Sleeparchive – 10 Years, 3 Beers, 3 Albums And No Seat Ilpo Väisänen – Asumaton Antti Rannisto – Ääniesineitä 7 Pan Sonic – Corona Sleeparchive – 10 Years, 3 Beers, 3 Albums And No Seat Imaginary Forces – Återstående Laddning Imaginary Forces – Materia Flöde Imaginary Forces – Kall Luft Imaginary Forces feat Matthew Saw – Slutvinjett Imaginary Forces – Låg Flex