The sun doesn't set for long on Sequence – our Melbourne office is now kicking ass on Australia's south coast and supporting the work at our Vancouver HQ.
I believe when you are stuck on a challenge, it’s best to jump onto another project. Your brain starts subconsciously solving other problems, and when you jump back onto the task you were stuck on, BAM! Problem solved.
It’s how I’ve always worked, and why I’m doing this interview now, rather than later.
Award-winning creative studio The Sequence Group (that's us) has opened a new operation in Melbourne, Australia. Creative director Luke Bicevskis will lead the Melbourne team’s work for Sequence’s high-profile clients, including Disney and Microsoft.
Here's a little experimental something we've been working on – a before/after reel! It is, again, quite experimental, so expect some issues – it plays nicest on newer versions of Chrome, not on mobile etc. Regardless! Enjoy!
From November 2014 to February 2015, Sequence Australia's creative director Luke Bicevskis collaborated with his good friend director Lukas Shrank on a passion project of Lukas’ – an animated short about the offshore detainment of refugees on Manus Island (perpetrated by the Australian government).
Hello, my name is Mark and I am a designer and animator at Sequence. Here are some After Effects scripts I figuratively could not live without. Additionally, I have decided to represent each script with a dog photo.
We do a fair bit of screen design work at Sequence—fantasy user interfaces (FUI), holograms, that jazz—so we decided to make a screen design reel! With that stuff in it! Here it is!
The pitch process doesn’t just go from idea to storyboard to shoot to cheque (even though that would be amazing). At various points in a job “style frames” need to be created—stills that communicate what a particular segment, idea etc. would look like at a finished level.
Sequence recently worked with 343 Industries to create Halo: The Fall of Reach, a 65-minute animation that tells the origin story of John 117 (aka Master Chief). We've worked with 343 before—Halo 2: Anniversary, Halo 4, Halo: CEA—but never on something this big. We needed to be quicker, more efficient—thus more creative.