• 9.3.19

    Bose Collins Grows with Evolver

    For their annual personal project, creative design team Bose Collins created the mesmerizing short film, Evolver, taking viewers on a journey that explores the idea of transformation through a captivating visual medium. Produced entirely in-house, the project weaves together endeavors in live-action, graphics, and sound design.

    “We’ve always done personal work in between client work,” explained Nathan of Bose Collins. “We’ve used the time to try new images, new technology, avenues we haven’t explored before. Evolver is the latest in the long, passionate work that we’ve been leaving behind like bread crumbs over the year. We wanted to try prosthetics. At the same time, we met someone who is really good at organics and wanted to give her a tryout, and so we started doing these tests and that’s where Evolver was born. The opening shot of the girl in the natural form, we made the prosthetic for the opening eye and made the CG models based on the prosthetic.”

    The entire endeavor took about a year to complete. Most of the Bose Collin’s personal projects have an aspect that dances on the line between spirituality and nature, in the way the work emerges and reveals itself. In this project, the sequential element of the earth and metal transformation to energy was undeniable. One of the most difficult tasks for the team was choosing the right name for the project. “We couldn’t think of a name for ages. However, once we got to watch the final cuts, we realized we had something quite special that we were really proud of it. We knew the name had to be epic, so Evolver was just the perfect fit.”

    “It was a real collaborative team effort. There are certain programs for certain things, hard objects or soft objects. This project is a mixture of them all. Some of the details were even shot in-camera. The eyes and face close-ups, particularly, were much more analog and organic. We’ve been enjoying hybrid work of blurring the line between CG and live-action. We’ve tried to maintain ‘if it can be shot with a camera, it should be shot’.” 

    “The first stage was the most fun for us, the deconstruction moments of the first stage where the spheres are coming out. Just designing that first stage to match the prosthetic was fun for us. For that first stage, we focused on the organic, primeval form that reveals itself and then transforms into pure energy at the end. The fun part is when we can play with things, to see what sticks. Things you thought might be a good idea, are tried and they’re actually not so great. Or happy accidents. You make the thing you like, you show it, and then people come to you for it.”

    If you build it, they will come.

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