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Halt and Catch Fire (2014)

Halt and Catch Fire (2014):

Halt and Catch Fire

“You’ve made just enough safe choices to stay alive, but not to matter.” — Joe MacMillan

An idea can be a violent thing. Birthed out of nothingness, forcing its way into the world with a stroke of luck, a flash of inspiration, and sometimes, the push of a button.

In the opening to AMC’s new period drama Halt and Catch Fire, a spark blazes a trail through sheer red, scorching an idea into existence. Zeroes become ones. Input becomes output. The characters’ faces, nothing more than glitchy approximations, are barely recognizable in the vermillion void.

Set against the backdrop of the 1980s tech industry, the series details the conception and rise of the personal computer. The sequence is our gateway into this system, the interface through which we enter a simpler age of bytes and bauds, when fear, uncertainty, and doubt ruled and code was king. Propelled by the pulsating synths of Trentemøller, the idea is executed. It cannot be stopped.

A discussion with Director PATRICK CLAIR and Lead Animator RAOUL MARKS.

Give us a little background on yourself, your agency Antibody and your current position at Elastic.

Patrick: Recently, I’ve been on the ground in LA working with the production team at Elastic, and its sister companies A52 and Rock Paper Scissors. Traditionally, we’ve done the production on our jobs with my team at Antibody, in Sydney. Working with Elastic is allowing us to take Antibody’s creative direction to the next level – watch for upcoming projects for Ubisoft, Playstation, Wired. 

What was your role and who worked on this…

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via Art of the Title