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Time Based Typography and ... what?

This is an interesting work from Jarratt Moody, an SCAD student in Time-based Typography.

Well this is not exactly a movie title design stuff but related to movie (Pulp Fiction, to be precise) and carries the composition through the dialogs and some interesting text animation.

If you have seen Pulp Fiction and obviously you cant forget the Samuel L Jackson's conversation with Brett asking about Marsellus Wallace ("does he look like a b*tch?"). For that matter every dialog in Pulp Fiction is famous!

watch it here

More of Jarrat's work

Interesting one to watch. Just text and voices, crank up the volume and enjoy.

Did you say "what"?



Trekant title sequence

This is a title sequence from a CG feature called as Trekant by Kompost. This one breaks away from the usual 3D or vector styles of titles to more illustrative approach using some very unique character animations and water color like backgrounds. The mood of the sequence is more enhanced by the soundtrack and perfect orchestration of the animation to the piece and the dark backgrounds.

Apart from the Mario Bros-esque narrative, the construction of the piece with multi layered drawn backgrounds holds it together and gives an all new dimension to title designs where something designed outside the computers with some interesting results. Worth a look see!

Watch and Download Trekant title sequence here

Adopting a style because it’s aesthetically pleasing doesn’t make it appropriate for every work [referencing his Seven title]. Keeping visual construction and attitude relevant to the concept of any work is obviously crucial to creating a successful piece.
- Kyle Cooper


Trainspotting title sequence

The title sequence from the cult 90s Brit movie by Danny Boyle. I am great fan of this movie, by the way...

Choose Life.
Choose a job.
Choose a career.
Choose a family.
Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers.
Choose good health, low cholesterol, and dental insurance.
Choose fixed interest mortgage repayments.
Choose a starter home.
Choose your friends.
Choose leisurewear and matching luggage.
Choose a three-piece suite on hire purchase in a range of fucking fabrics.
Choose DIY and wondering who the fuck you are on Sunday night.
Choose sitting on that couch watching mind-numbing, spirit-crushing game shows, stuffing fucking junk food into your mouth.
Choose rotting away at the end of it all, pissing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourselves.
Choose your future.

Choose life... But why would I want to do a thing like that?
I chose not to choose life. I chose somethin' else.
And the reasons?
There are no reasons.
Who needs reasons when you've got heroin?

Watch it here



Lord of War title sequence

Lord of War starring Nicolas Cage features an incredible title sequence that of a journey of a bullet from the arms factory to the guerilla rebels in Africa. An interesting study in live and CG compositing and HDRI reflection.

L'E.S.T. visual effects supervisor Yann Blondel talks about the digital techniques he employed for key sequences in Lord of War opening 'bullet factory' titles

At the beginning of the sequence we dive on a machine. This machine has been created/extended using CGI and some animation has been added to it. That shot had also been accelerated and stabilised.

Inside the machinery everything is CGI until we emerge on the conveyor belt.

The conveyor belt itself is CGI and the bullets are as well. The background needed to be reconstructed in CGI because the camera was waving a little too much and we wanted a straight trajectory. When the bullet is picked up, the actor and the hand have been shot against green screen and composited on a CGI background.

After being tossed back on the conveyor belt we fall in a tube. Here, again, everything is CGI until we fall in the crate full of bullets (which is obviously CGI).

We emerge on the second conveyor belt. The background has been retimed and stabilized. Here only the foreground is CGI. It's exactly the same case when the crate is opened in the Ukrainian Harbor.

When the crate is opened again in Africa it's another story. When the bullet falls and rolls on the ground everything is CGI. We had shot a nice movement but the distance with the ground wasn't good. We had to recreate the whole background in CGI to gain a couple of inches! And as there were moving elements it wasn't simple.

Then the bullet is tossed in another crate full of ammunitions (all CGI). While being loaded into the truck and travelling through the jungle the crate and the bullets are CGI.

In the street, until we get thrown on the ground, only the crates and the bullets are CGI. But when we get loaded in the magazine everything is CGI from background to the magazine and the barrel of the AK47.

And then, when the bullet is shot we only added a CGI bullet, some guys fighting in the street, accelerated and stabilized the shot.

Software details:
XSI, Shake, After Effects, Photoshop and Matchmover for 3D tracking.

L'E.S.T. (visit the link for some major vfx shot breakdowns and stuff.

Watch and Download it here



Who is Pablo Ferro?

Who is Pablo Ferro?

This is indeed an intriguing find. A teaser for an up and coming feature length animated documentary on Pablo Ferro.

Pablo Ferro (born January 15, 1935) is a graphic designer and film titles designer.

Pablo Ferro is the least-known of the great title sequence designers. He was born in Antilla, Oriente Province, Cuba. He was raised there on a remote farm until emigrating to New York with his family as a teen.

He has been hailed as a genius by director Stanley Kubrick and has established himself in film for more than three decades as a director, editor, producer and title designer. He has been creating title sequences since the dawn of Saul Bass’s era and is still making title sequences today, his most recent being Iowa in 2005.

Ferro's single best known credit is Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, for which Ferro provided his distinctive hand-drawn titles and assembled an offbeat, almost avant-garde trailer. He has also designed titles for films including The Thomas Crown Affair (1968), A Clockwork Orange (1971), Beetlejuice (1988), L.A. Confidential (1997) and Good Will Hunting (1997). Ferro started work professionally as a comic book artist in 1953.

Ferro is known as an early master of quick-cutting and for using multiple images within one frame, a technique later taken up by Kyle Cooper. Ferro has worked with high-tech and optical techniques. His trademark hand-drawn lettering is yet another technique that quite obviously had an influence on Kyle Cooper's work.

Recently he has received the Daimler Chrysler Design Award on October 28, 1999, and the Art Directors Hall of Fame Award in October 2000.

Dr. Strangelove: or How I Stopped Worrying and Loving the Bomb
Pablo Ferro designed this opening sequence for Stanley Kubrick's Dr.Strangelove, featuring phallic imagery of U2 bombers refueling in the air. Clever placement of text and creative use of typography.
* Also notice the typo there just below the title of the movie, it is "Base on the book" instead of "Based on the book". Kubrick pointed that out to Pablo after the movie was released but it was too late.

Watch the teaser here

Quick Cuts, Coarse Letters, Multiple Screens: An exhaustive study of Pablo Ferro's title designs



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