The film title sequence has arguably been one the most widely known and seen forms of motion design for the past several decades. Much like the cover of a book, a title sequence sets the tone for the larger narrative that is to follow. Since the 1950s title sequences have preceded movies, television shows, even live events, music videos, or video games. They establish a tone and identity consistent with the corresponding movie or show, but don\u2019t give away the plot. At their best, title sequences create anticipation and excitement, provoke curiosity, and pique an audience\u2019s interest.<\/p>\n
A title sequence can be constructed using many different mediums: video footage, animation, kinetic typography, still photographs, illustration, and music are all common elements. This project will require you to draw from everything you\u2019ve learned this semester about type and image in motion, the relationship between audio and visual components, and, most importantly, developing a narrative arc.<\/p>\n
You will create a single title sequence for a book that was never made into a film before (approx. 50-120 sec long). The visual language and overall tone of your final project should reflect your subject matter without giving away the larger narrative-remember that the title sequence\u2019s main objective is to introduce an object to the audience, rousing curiosity and interest.<\/p>\n
OBJECTIVES <\/strong><\/p>\n – Create a complex, refined, fully-developed piece that thoughtfully integrates typography, imagery (representational form and \/ or abstract form), audio, and motion.<\/p>\n – Continue to investigate the combination of \u201ctraditional\u201d design attributes (color, composition, shape, depth, tension, contrast) and \u201ctime-based\u201d attributes (progression, pacing, rhythm, sequence, velocity, kinetic behavior)<\/p>\n – Continue to investigate the development of a narrative arc<\/strong><\/p>\n – Continue to investigate typography in motion: \u201ctraditional\u201d typographic characteristics (typeface, type size, kerning, tracking, leading, etc.) in addition to kinetic characteristics (motion typography and fluid typography)<\/p>\n – Continue to develop an advanced and complex relationship between audio and moving visual elements<\/p>\n – Show a high level of technical proficiency and skill in using After Effects<\/p>\n SCHEDULE \/ PROCESS <\/strong><\/p>\n Wednesday, April 8:\u00a0<\/strong> Monday, April 13:<\/strong> Wednesday, April 15:\u00a0<\/strong> Monday, April 20:<\/strong> Wednesday, April 22:<\/strong> Monday, April 27:<\/strong> Wednesday, April 29:<\/strong> Monday, May 4th: Last Class Session PROJECT DELIVERABLES <\/strong><\/p>\n Final title sequence Drawn storyboard (for 1-2 concepts)<\/p>\n 4-5 keyframes (for selected concept)<\/p>\n Rough drafts (as uploaded to YouTube for each in-progress critique)<\/p>\n RESOURCES <\/strong><\/p>\n The Art of the Title<\/a><\/strong><\/p>\n Audacity<\/strong>: free audio editing software Technical Resources<\/a> &<\/strong> EXAMPLES<\/strong><\/p>\n Hawkeye Opening Credits:<\/a><\/p>\n Stranger Things Title Sequence<\/a><\/p>\n Saul Bass: The Art Of The Title Sequence<\/a><\/p>\n Typography – Motion makes emotions<\/a><\/p>\n Saul Bass: Anatomy of a Murder (1959) title sequence<\/a><\/p>\n Kelly Clark\u2019s Title Sequence for \u201cHidden Close\u201d (Saul Bass Style)<\/a><\/p>\n Grand Budapest Hotel Title Sequence<\/a><\/p>\n Catch Me If You Can (2002) title sequence<\/a><\/p>\n Midsommar Intro Sequence<\/a><\/p>\n CREDIT LIST FOR TITLE SEQUENCE<\/strong><\/p>\n 1. Studio\/company that is distributing the film \/ show, i.e. 2. “A Zack Snyder Film”<\/p>\n 3. Star of Film Name 1<\/p>\n 4. Star of Film Name 2<\/p>\n 5. Film Title<\/p>\n 6. Director of Photography [First Name Last Name]<\/p>\n 7. Edited by William Hoy A.C.E.<\/p>\n 8. Based on the Book by [First Name Last Name]<\/p>\n 9. Screenplay by [First Name Last Name]<\/p>\n 10. Produced by [First Name Last Name]<\/p>\n 11. Directed by [First Name Last Name]<\/p>\n Additional credits vary: editors, those in charge of casting, makeup, mustic, costume, visual effects, etc. may appear in the title sequence<\/p>\n *Since your title sequence will not be quite as long as a typical full-length title sequence, which can be up to a few minutes long. Those above should be included, at minimum.<\/p>\n PAST STUDENT EXAMPLES<\/strong><\/p>\n The Ice House<\/a> (Darcy Wang)<\/p>\n The Fountainhead<\/a> (Gino Real)<\/p>\n Narcissus Has Gone With Koi<\/a> (Evie Yanwen Hu)<\/p>\n Office Girl<\/a> (Elizabeth Taurisani)<\/p>\n The Elephant Man<\/a> (Sam Cooper)<\/p>\n\n\n All The President’s Men<\/a>(Daniel Kwon)<\/p>\n\n\n\n The Life Acquatic <\/a>(Jen Ling Lai)<\/p>\n\n\n\n The Diving Bell and the Butterfly<\/a> (Lauren Smedley)<\/p>\n\n\n\n Raging Bull<\/a> (Nick DeRose)<\/p>\n\n\n\n The Usual Suspects<\/a> (Ashley Simmons) Exhibition Openers<\/strong> (similar to title sequences)
\u2013 Introduction to Project 3: Film Opening Title Sequence & One-on-ones \/ Working session<\/p>\n
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Due:<\/strong>
\u2013 Refined News Flash sequence for Class Critique
\u2013 One-on-Ones: Book Selection & pencil sketches storyboard concepts for Project 3: Opening Title Sequence<\/p>\n
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Due:<\/strong>\u00a0Key Frame (digital storyboard) of Opening Title Sequence<\/p>\n
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Due:\u00a0<\/strong>Opening Title Sequence Rough Draft for Class Critique<\/p>\n
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Working session \/ One-on-ones<\/p>\n
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Working session \/ One-on-ones<\/p>\n
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Final Opening Title Sequence Class Critique<\/p>\n
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<\/strong>Final Opening Title Sequence Class Critique
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– Composition size: 1920 x 1080 px
– Duration: 60-120 min. seconds long<\/p>\n
<\/a>&\u00a0a\u00a0helpful guide for basic cutting, trimming, and arranging audio in Audacity.<\/a><\/p>\n
Resources for Storyboarding<\/a><\/strong>
Places to find Free Audio\/Music
<\/strong>Adobe Stock Music<\/a>
Creative Commons Music<\/a>
AudioJungle<\/a>
Soundcloud<\/a>
Pixabay<\/a>
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“A Warner Brother’s Pictures Production”<\/p>\n
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E11<\/a> (Jennifer Yacoub)
Abstract Generation MoMA<\/a> (Napasawan)<\/p>\n\n\n\n