FUTURE / TERRITORY STUDIO EARTH
CALLING MARS

FUTURE / TERRITORY STUDIO
EARTH CALLING MARS
АВТОР


ИСТОЧНИК
VALERI ARENAS
CREATIVE DIRECTOR & PARTNER

TERRITORYSTUDIO.COM
АВТОР:
VALERI ARENAS
CREATIVE DIRECTOR & PARTNER


ИСТОЧНИК:
TERRITORYSTUDIO.COM

AS A STORY THAT IS MEDIATED BY TECHNOLOGY, SCREENS FORM THE LENS THROUGH WHICH RIDLEY SCOTT'S AWARD WINNING DRAMA UNFOLDS.
he Martian tells the story of NASA's efforts to bring stranded astronaut Mark Watney home. Based on Andy Weir's novel, the story is set circa 20 years in the future, during NASA's third manned mission to Mars. Predicated on real science, Director Ridley Scott and Production Designer Arthur Max drew on the expertise of specialists at NASA and the European Space Agency, and asked Territory to craft the screen graphics and UI that would be needed to support the script and action.

WIth hundreds of screens across 8 key sets, we worked closely with NASA to develop a series of deft and elegant concepts that combine factual integrity and filmic narrative, yet are forward looking and pushing NASA's current UI conventions as much as possible.
NASA Mission Control was the biggest set and featured around 100 screens, including a bank of LED monitors 18m x 6m. The brief for the Mission Control screens, including NASA and JPL, was to keep things looking real. One of the film's key scenes plays out in NASA Mission Control so it was essential that we got the balance right between factual screen content and visual design. Each screen has a real purpose in that context and we needed to make sure that we reflected that in the design detail. And, it was important to give a unique identity to the set, which features a lot of information, including realistic video feeds and telemetry data that the actors react to and interact with.
NASA Mission Control was the biggest set and featured around 100 screens, including a bank of LED monitors 18m x 6m. The brief for the Mission Control screens, including NASA and JPL, was to keep things looking real. One of the film's key scenes plays out in NASA Mission Control so it was essential that we got the balance right between factual screen content and visual design. Each screen has a real purpose in that context and we needed to make sure that we reflected that in the design detail. And, it was important to give a unique identity to the set, which features a lot of information, including realistic video feeds and telemetry data that the actors react to and interact with.
NASA Mission Control was the biggest set and featured around 100 screens, including a bank of LED monitors 18m x 6m. The brief for the Mission Control screens, including NASA and JPL, was to keep things looking real. One of the film's key scenes plays out in NASA Mission Control so it was essential that we got the balance right between factual screen content and visual design. Each screen has a real purpose in that context and we needed to make sure that we reflected that in the design detail. And, it was important to give a unique identity to the set, which features a lot of information, including realistic video feeds and telemetry data that the actors react to and interact with.
A number of scenes required real satellite images of Mars that showed the Hab, weather and terrain. We created these in 3D, basing the geography on satellite images that NASA provided for reference and fictitious elements on set, prop and vehicle design.
A number of scenes required real satellite images of Mars that showed the Hab, weather and terrain. We created these in 3D, basing the geography on satellite images that NASA provided for reference and fictitious elements on set, prop and vehicle design.
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