After moving to Los Angeles in 2004, I had the good fortune of working for Kyle Cooper at Prologue Films for many years. Kyle is the creative genius often credited with elevating the niche industry of title sequence design into an art form, though his work reaches far beyond titles and into live action film, animation and visual effects. It was an honor to work for and learn from Kyle for many years, as well as the incredible list of exceptionally talented designers, animators, editors, VFX artists, directors and producers that have comprised the Prologue Films crew over the years. Some of the most talented artists I know are colleges and friends from Prologue including the likes of Simon Clowes, Lee Buckley, Paul Mitchel, Aaron Becker, Ilya Abulkhanov, Henry Hobson, Heebok Lee, Dongho Lee, Gary Mau, Seth Kleinberg, Nate Park, Jose Luis Coyotl Mixcoatl, Adam Swaab, Clarice Chin, Manija Emran, Georgia Tribuiani, Lisa Bolan, Carissa Donlevy, Lilit Hayrapetyan, Lee Nelson, Chris DeCristo, Chris Moore, Unjoo Byars, Ryan Robertson, Elizabeth Newman, Ian Dawson, Kate Barry, and many others. It was a unique place, singularly known within the film industry for the level of talent and the commitment to excellence that it rigorously maintains. It is impossible not to develop your skills and hone your abilities in such a place. Although I have shifted focus to my first love—the world of books and publishing—the projects I worked on during my time at Prologue, as well as the people I worked with, and for, helped me find a greater understanding of visual communication, and elevate my own work to a new level.
Rather than showing every project I worked on over the years, I have just posted a few favorites as well as this sampling of stills. I had several roles in my time at Prologue. For some of the projects shown here, I acted as VFX Producer. For some I served as Director of Photography. And for others, I worked generating cool visuals and concepts for the R&D phase of the project. Some projects were more hands-on than others…in fact I sill remember working on Godzilla: Final Wars, my very first job after joining the Prologue team. For that job, we had all the letters for the credits carved out of wood blocks. We then built a 20-foot rig with a giant plywood “ceiling”. For each shot, I had to walk out on a rickety plank which we found outside next to the studio, affix the letters for each credit to the ceiling with a system of magnets while the designer lay on the floor, looking up, and shouting out directions at me for the exact kerning of each letter. Once a credit was set, someone squirted lighter fluid over the letters and set them on fire while pulling the magnets away, while we got on the floor under a small plexi shield and filmed the flaming letters as they fell down on us, all the while trying not to burn down the studio or set ourselves on fire. It was quite an introduction to the film industry for someone like me, just out of art school. And in fact this project, which remains quite nostalgic for me, was also featured in the book Motion By Design, published by Laurence King Publishing in 2006.
But whether setting things on fire, creating in-camera effects, or producing large-scale jobs, I will always be grateful to Kyle for hiring me and giving me the chance to learn from some of the best visual minds around. For anyone who is interested in film, visual effect, motion graphic and design in general, I strongly encourage you to checkout the Prologue Films website for a detailed look at all the amazing work Kyle and his team have created over the years.