SWITCH

06/03/2024

Oona Upasana at the Pune Design Fest 2024
Thank you for inviting us!

The PDF has attracted industry experts, design professionals, educational institutions and design communities to join.

19/01/2024

“I’ve been drawing ever since I could first hold a pencil, and I plan to continue until the day I can no longer grasp one. As a communication designer, I’ve worked with a diverse range of mediums. Eventually, I reached the conclusion that I wanted to work and grow in a space where all these different mediums converge, and Roy Studio seemed to be the perfect space for it.

Working with such warm individuals, each eccentric in their own way, not to mention the two dogs and a blue-eyed cat all nestled together in a charming little villa in a sleepy old Goan town, is something I never imagined for myself.“

Rohan ._.francis is a Visual communication designer from DJ academy of design and is currently pursuing he’s graduation project with us.

19/01/2024

“It's funny because, initially, I pursued engineering, but life had some other plans for me. I quickly realized my passion for creating captivating visual experiences and decided to pursue a career in motion graphics. This decision has led me down an exciting path, allowing me to express my creativity and imagination through my work.
As a motion graphics artist, I find joy in bringing ideas to life through animation and design"

Aditya Bhirad , is a motion designer who joined Switch Studio last year and has been an incredible part of the studio having worked and played an important part in our projects.

11/01/2024

We had an amazing 2023 in OTT and working with brilliant directors, producers and their teams!
Thank you so much for trusting us.

The new year is here and looking forward to more!

31/12/2023

In the realm of filmmaking, design should always serve the narrative, not overshadow it

Elements like astons and maps played pivotal roles in conveying crucial information within the film's narrative. In our initial explorations, we integrated Malayalam text into the name astons to forge a visual connection with the speaker's mother tongue and to celebrate the devnagri script.

But after careful deliberation and testing, we recognized that including Malayalam text might distract from the astons primary purpose – to define character identities and roles in relation to unfolding events. Thus, we intentionally chose to remove the Malayalam text to maintain narrative focus and clarity.

Similarly, the portrayal of the map underwent multiple refinements. Through iterative adjustments, we shaped a version that seamlessly aligned with its purpose within the storyline.



.o.y.studio .naduthodi .color

.ahuja06 .vfx @.annie.meryl. .rythm .motionster .khursade

29/12/2023

The design process is iterative with a clear intention of communication. Poison being the weapon of choice in Curry & Cyanide, initially we played with acid treatment on photos. Then we explored a polaroid approach considering the years that the murders occured - hinting at a pre-smartphones era. But all of them felt quite ‘motion graphic-y’ and CGI and seemed to stick out of the rest of the shots in their design language.

The approach of Cinematic Motion design led us to thinking of the narrator telling the story while simply placing photos on a table.

Archival photos are rarely consistent in their quality and design comes to the rescue often in such situations. We also used some AI upscaling and colour grading. The use of light and shadows as a layer over these table-top setups changed the overall emotion of the shots with a dappled ‘in-camera’ feel.

It was fantastic fun to be in conversation with James Haygood Moumita Sen and Aswathi Naduthodi while developing the approach for these to create one cohesive film.

29/12/2023

Design for Documentaries is finding a balance between art in motion and clear communication - a totally different kind of thrill. It is a constant dance to make the right design choices for the story being presented.

In Curry & Cyanide, the weapon of choice is poison in food and the victims are within the family. The story is rooted in a semi rural Indian family. It is a very textured and layered environment and the production and visual design is extremely tactile and cinematic.
The ‘job’ to be done is to blur the lines between recreations, actual photos and news footage and help maintain a harmonious integrated design language, all the graphics must seamlessly align with the overall cinematic language. By adhering to this principle, we create a cohesive and immersive visual journey that presents with the overall narrative.

So “Cinematic motion design” is the core approach and finding ways to make Design INVISIBLE is what we hope to do. In projects like this we also create a Motion Design System in which every bucket of material and communication has a predefined Style Guide developed by Upasana Nattoji Roy which then translates across shots through material specific tweaks.
Here are just some of the explorations, layers and frames.

Big shout out to our Switch Studio and Roy Studio team for manifesting this design language across the systems. Nigel Gomes, Esha Singh Aditya Bhirad Annie Meryl
and our support team : Vinay Goenka, Gaurav Ahuja, Mustafa Lokat, Kartik Singh .motionster Harshh Khursade, Pratik
And thanks Swikriti for this reel!

18/12/2023

Trailer Alert! Save the Date!
New Work Releasing!
Curry & Cyanide: The Jolly Joseph Case, streaming from 22nd Dec, only on Netflix in Malayalam, Hindi and English.

Main Titles, Factual Animation, Motion Design System, design for documentary such an intense project!

The Film : A small town in Kerala is shaken by a series of murders and all evidence points to Jolly Joseph. Did the chatty, friendly, much loved Jolly really play a game of secrets, lies and poison?

Aswathi Naduthodi
Sen

Oona Upasana
Saurav Roy
Gomes

Production .j .o.y.studio .naduthodi .color .sukumaran13 .ahuja06 .vfx .annie.meryl._ .rythm .motionster .khursade

, , ,

30/10/2023

Thank you!!!