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Retro futuristic sci-fi from Blacklist's Dvein


Barcelona-based and Blacklist-repped Dvein were invited by the Spanish film director Kike Maillo to take part in his first feature film.

Retro futuristic sci-fi from Blacklist's Dvein
When we first met with Kike Maíllo, we were offered to take part of the film with a double challenge: firstly there was the design of the Hand Up and also we would be taking care of the main titles creation. The Hand Up is the name that the script uses to refer to the machine that the main character of the film uses as the interface to manipulate the consciousness of the robots. Dwe designed this interface and the titles are just some sort of a closer approach to this interface, like an aesthetic essay, so to say.

For the Hand Up design, our goal was to create an interface through which Alex manipulated the robots. We wanted that the way in which he was mixing with the Hand Up wasn’t plain, as if he was working with a screen, but something much more three-dimensional, so that Alex using it was a much more “physic” activity. We wanted to see him standing, manipulating and moving around the Hand Up.

At the same time we couldn’t forget that functionality was also very important for this design, because the Hand Up is the control table that Alex was going to use with a very specific aim. There were many elements of the story that we took as initial references for the Hand Up design. We were very attracted to the constant presence of snow in many scenes of the movie, so it came to our minds the fractal structure of the snowflakes that we also related with the connection nets between nerve cells. This also came closely together because the Hand Up is actually the representation of the mechanisms that rule the robots behavior, but an immense library of memories as well, just like a human brain.

We also wanted to reflect how one idea or thought of the consciousness, represented as an element in the Hand Up, influenced the others, as the movement of one gear affects the next one. This reminded us the clocks machinery and also the operation of the steam engine.

The choice of crystal came from the attraction that we felt for the contrast between something that it’s supposed to be metallic but which in fact it’s made with glass, something that adds also a sensitive, feminine and uncommon component to the machine world as we conceive it normally. It also reminded of the early 20th century laboratories, full of bottles and test tubes made of glass, something that not only worked well with the retro vibe of the film but also gave the Hand Up a feeling of experimentation and discovery, in a very romantic way.

Making the titles:
We worked in searching a key image that summarized what we wanted the credits to be. There were many tests before we got an original image of our own that will define them completely, and from there on, we built the rest of the shots: a simpler initial part, like an introduction, that turns into something more and more complex to introduce us to the world of ‘Eva’.

For more infos about the film:
View Dvein’s title sequence for Eva:

Direction & Animation: Dvein
Renderfarm: Renderfarm Solution
Music: Evgueni Galperine & Sacha Galperine
Sound Design: Oriol Tarragó



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