Danny Yount — Masters Of Sight

Masters of Sight

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About Masters Of Sight

Masters Of Sight is a curated sanctuary for the visually obsessed. A place where craft is worshipped, where every frame is a deliberate act, and where the boundary between art and entertainment ceases to exist. This is not a portfolio. This is a resource for those who demand better.

Why This Was Created

I built this because the world is drowning in content and forgetting what vision actually looks like. Consider this a reminder.

My name is Benny Jackson. I built this on my own time, with my own taste, because no one was going to build it for me. That's kind of the whole point.

For the ones who can't look away from great work. You know who you are.

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Have a project worth making? A collaboration worth exploring? A piece of work you think belongs here? I want to hear from you.

Benny Jackson. Founder, Masters Of Sight.

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The Reference

The sites we keep open in the other tab.

Eyecandy

The deepest searchable database of motion design and visual inspiration on the internet. If it moved beautifully, it's probably in here.

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Shotdeck

The definitive film still library. Searchable by color, mood, lens, and lighting. Essential for anyone who thinks in frames.

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The Art of End Cards

A curated collection of advertising end cards.

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The archive is just the beginning. Full Frame is coming. A deeper room for the people who don't just browse. Be the first to know.

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Masters of Sight

Danny Yount taught himself the craft from nothing, building a demo reel after seeing what Kyle Cooper was doing at Imaginary Forces and deciding main titles were the only thing worth doing. At Digital Kitchen he designed the Six Feet Under opening, a sequence so tonally exact it won an Emmy and set the standard for what a television title could carry before a script even started. He moved to Prologue Films and shaped an entire era of studio spectacle: the vintage psychedelia of Kiss Kiss Bang Bang, the etched Victorian menace of Sherlock Holmes, the glowing lab interfaces inside three Iron Man films. His titles for Tron: Legacy took a franchise defined by its grid aesthetic and gave it a pulse before a single frame of story arrived.

Signature Traits

Title sequences built as tonal previews, setting emotional stakes before the first scene begins.
Interface and hologram graphics handled with the same craft as narrative titles, blurring the line between the two.
Negative space used as a compositional tool, letting empty frame carry as much weight as the image.
Type deployed as a dramatic device, hinting at story undercurrents rather than simply labeling names.
Self-taught technique built by reverse-engineering the work of Kyle Cooper and Saul Bass.

Major Works

Six Feet Under main title (2001)

A slow-motion funeral home, a wilting flower, a coffin closing. Won an Emmy and set the show's mortality theme before a single line of dialogue.
Kiss Kiss Bang Bang (2005)

A hand-drawn 1960s pastiche that nods directly at Saul Bass, nominated for an AD&D award and still one of the sharpest title homages ever made.
Iron Man trilogy (2008-2013)

Designed the glowing holographic interface inside Tony Stark's lab, then built the main titles for all three films. The UI work became as recognisable as the credits.
Tron: Legacy (2010)

Gave a franchise built entirely around its grid aesthetic a title sequence with an actual pulse, restrained enough to let the film's world speak first.