Title Design Project: Best of Motion Graphics http://www.titledesignproject.com Motion Graphics for TV, Video & Web Award winning Design & Animation Thu, 02 Feb 2012 18:28:17 +0000 en hourly 1 http://wordpress.org/?v=3.3.1 “Motion Plus Design” – the first exhibition center dedicated to Motion Design in Paris! http://www.titledesignproject.com/2012/02/motion-plus-design-the-first-exhibition-center-dedicated-to-motion-design-in-paris/?utm_source=rss&utm_medium=rss&utm_campaign=motion-plus-design-the-first-exhibition-center-dedicated-to-motion-design-in-paris http://www.titledesignproject.com/2012/02/motion-plus-design-the-first-exhibition-center-dedicated-to-motion-design-in-paris/#comments Thu, 02 Feb 2012 18:28:17 +0000 goktug http://www.titledesignproject.com/?p=1131 “Motion Plus Design” is a non-profit project which aims to create the first exhibition center dedicated to Motion Design in Paris, France. Students, professionals and anyone interested can discover artists, meet them and learn a thing or two. This centre will also provide an opportunity to promote artists in other design departments so the different graphic design worlds could cross.

“Motion design is already present in all parts of our lives. Yet, no place is dedicated to celebrating motion design. When we realised this, we came up with the idea of founding the world’s first Centre dedicated to the world of motion design.”

The video below has for goal promoting this interesting idea and takes a look at the growth of Motion Design throughout the century:

“Motion Plus Design” – the first exhibition center dedicated to Motion Design in Paris!
Posted by motionVFX Team
January 30, 2012, at 10:54 PM

“Motion Plus Design” is a non-profit project which aims to create the first exhibition center dedicated to Motion Design in Paris, France. Students, professionals and anyone interested can discover artists, meet them and learn a thing or two. This centre will also provide an opportunity to promote artists in other design departments so the different graphic design worlds could cross.

“Motion design is already present in all parts of our lives. Yet, no place is dedicated to celebrating motion design. When we realised this, we came up with the idea of founding the world’s first Centre dedicated to the world of motion design.”

The video below has for goal promoting this interesting idea and takes a look at the growth of Motion Design throughout the century:

Every month the centre will welcome (infomation via official website):

either an artist [Kyle Cooper for example, the current American king of title sequences]
or a production company team [Post Panic or Psyop for ex.]
or a theme [for example 'the history of motion design from the 1920s to the present day']

The Centre will also house an area exclusively dedicated to the showing of work by experimental artists, from photographers, video artists and / or interactive and / or typographical artists. The idea is to create interaction between two worlds: those who are interested in Motion Design will be surprised to discover the exhibition of the work of a photographer, and those who will come to look at the work of a typographer will discover Motion Design.

Source: http://motion-plus-design.com

]]> http://www.titledesignproject.com/2012/02/motion-plus-design-the-first-exhibition-center-dedicated-to-motion-design-in-paris/feed/ 0 King of Graphics http://www.titledesignproject.com/2012/02/king-of-graphics/?utm_source=rss&utm_medium=rss&utm_campaign=king-of-graphics http://www.titledesignproject.com/2012/02/king-of-graphics/#comments Wed, 01 Feb 2012 16:42:13 +0000 goktug http://www.titledesignproject.com/?p=1126

Find the common element among these things: Psycho; United Airlines; Quaker Oats; Dixie Cups; Goodfellas; the Girls Scouts of America. I picked a grab bag, and I could have included a lot more, to show how diverse the work of Saul Bass was; he did graphics, and more, for all of them. There is no bigger name in graphic design than Saul Bass, and now there is a gorgeous book, huge and colorful as befits his career, Saul Bass: A Life in Film and Design (Lawrence King Publishing) by his daughter Jennifer Bass, herself a graphic designer, and Pat Kirkham, who teaches decorative arts and design history. Flip through the 400 big pages here, and you are bound to find logos, posters, and movie title sequences you have seen many times; Bass’s range and influence were astonishing. There is a bit of biography here, along with a relatively chronological summary of his work from his poster for his high school’s open house through the poster for Schindler’s List. The text is worth reading, and the authors have quoted generously from Bass’s own thoughts on his life, work, methods, and output. As befits Bass’s legacy, however, this is a picture book, and it is a treat for the eyes.

 

Bass was born in the East Bronx in 1920, the child of Jewish immigrants. Late in life he recalled, “Some years ago I was asked, ‘When you were a kid what did you want to be when you grew up?’ Back then I thought the answer I gave was funny. I said, ‘Saul Bass.’ It was no joke.” He was Saul Bass early; besides excelling in art in high school, he painted signs for local fruit stalls and store windows. A scout for the Art Students League saw some of the signs, found out who made them, and offered Bass a scholarship. He took fine arts courses, but knew what sort of work he wanted to do. “The layout class had a fine-art content, but Saul was happy with the approach, realizing that to be any good at commercial art he had to learn such things as form, color, perspective, and composition.” His first job was for a small commercial art studio that designed trade ads for United Artists; it was just the work he wanted, although film ads in those days had none of the associations with glamour that was to come. “I had no idea anyone looked down upon advertising,” he said. “I looked up to it.” Still, he grew tired of following formulas and “cramming as much illustration, type and hype as you possibly could into ads.” When he took the next job as an art director, he specified that he would not work on movie ads.

 

Bass was introduced to the Bauhaus theorist György Kepes, who became his mentor and helped change Bass’s work into the strongly Modernist mode, paring away decoration and superfluities. Bass’s firm had trouble with its account for Warner Brothers, and despite his “no movies” stance, Bass was back working on films. In 1946 he realized he had to get out to Hollywood. Movies were changing, not only reflecting the social conditions of the postwar years, but also more films were being made by independent directors and producers. Title sequences of the movies were conventional letters over conventional backgrounds, and sometimes theaters ran the initial credits over the curtain as it went up. Bass thought a film began at the first frame and deserved a mood-setting overture. His title sequences are famous for setting the tone of the film, and are among the best ever made, from the swirling Lissajous patterns of Vertigo to the funny cartoons preceding It’s a Mad, Mad, Mad, Mad World.

 

Bass also did the credits for Psycho, and Hitchcock knew how important integrating Bass’s work into the film was. “Hitchcock involved Saul from the earliest stage. They had meetings before writing began, and Saul received each section of the screenplay as it was completed.” The result was a series of black and white bars on the screen, shifting as if you could almost figure out why, and revealing the words of the credits only when they came infrequently into perfect alignment. It was a signal of dysfunction and uncertainty. Not only did Bass do the titles, he was paid a good fee to “do something” with the shower murder scene, one of the most famous and frightening sequences in all cinema. Bass came up with storyboards that emphasized quick cutting to show a bloody murder in a stylized, frenzied fashion. Hitchcock was reluctant: “I showed it to Hitch. It was very un-Hitchcockian in character. He never used that kind of quick cutting; he loved the long shot.” Bass was even on the set and Hitchcock let him take charge of the filming of the sequence, but Hitchcock when interviewed by François Truffaut six years later was evasive about giving Bass credit.

 

Bass (and his wife Elaine, who gets much credit in this book for their joint efforts) had a “fade out” from making movie titles. He had a lot of corporate work to do, and was making his own documentaries and film essays (he also directed one feature film, Phase IV). He also found that directors were newly interested in using the title sequence themselves creatively, and perhaps this was a response to his own work. Nonetheless, he came back in the 1990s, working for among others Martin Scorsese (who writes the book’s forward), for whom he did the admirable credits for Goodfellas, Cape Fear, The Age of Innocence, and Casino. Quentin Tarantino gives an interesting analysis of this sort of work, saying that Bass was the greatest of title sequence makers. “I could never do what Scorsese does – give up control of the opening of my film to someone else, not even Saul Bass – I guess I should say Saul and Elaine Bass. I need to keep control of everything and Scorsese is too great a filmmaker not to know the importance of control. It can only mean one thing: Scorsese must have absolute, ab-so-lute, confidence in them. And that is nothing less than amazing to me.”

 

Among the most interesting pages here are the reproductions of preparatory sketches leading to a final product. Bass would do perhaps 300 sketches for a single simple logo. Shown here are his preparatory drawings for Otto Preminger’s Advise & Consent. The sketches include a Capitol dome with a wind up key, or a faceless congressman with a key in his back, or congressmen as puppets on strings. These are all good. The one Bass and Preminger agreed upon, however, was brilliant, showing the dome of the Capitol tilted open, as if the movie is going to “rip the lid off” the way politics is done. Some of the pictures here show Bass getting ready to make a presentation of his logo work to a particular corporation – there are hundreds of alternative designs on the walls. Bass was a master of the presentation of the final design to corporate clients; he liked being “on stage,” had excellent comedic timing and wit, and connected with each client individually. The presentation was the culmination of intensive work, starting with an analysis of what the company had done, its competitors, and its communication materials, and even enlisting market research. It is significant that Bass thought that one of the most interesting parts of his work was the interviews with one executive at a time. “I get to ask powerful and often interesting people about their work and their lives. It is in their heads that the real blueprint for the future exists or is being formed.”

 

Bass was devoted to progressive causes, and did plenty of pro bono work; there are designs here for the ACLU, the Special Olympics, Boys Clubs, YWCA, and more. Bass had a devoted family, and people who worked for his firm remembered a dynamic, funny, intense man who loved his job. When they split off to make their own firms, he gave them his blessing – it was part of the creative process, and he had done the same thing himself. To see the many designs in this book is to appreciate that while his work was too diverse to have any one unifying esthetic, it was characterized by simplicity, distillation, and minimalism, and was always forceful because it was so concentrated. Revealingly, he was anxious with every new assignment; he told young designers that “the only difference experience made, he believed, was the knowledge that since one had managed to come up with good ideas in the past, there was good reason to believe it would happen again.” He also said that considering present work is humbling “because no matter how much experience you have, the blank page is still terrifying.” Maybe so, but he conquered any such fears countless times, with successes reproduced here on page after page of memorable, effective images.

]]> http://www.titledesignproject.com/2012/02/king-of-graphics/feed/ 0 One Fine Day Travels To The “Hart of Dixie” For The CW Network http://www.titledesignproject.com/2012/02/one-fine-day-travels-to-the-hart-of-dixie-for-the-cw-network/?utm_source=rss&utm_medium=rss&utm_campaign=one-fine-day-travels-to-the-hart-of-dixie-for-the-cw-network http://www.titledesignproject.com/2012/02/one-fine-day-travels-to-the-hart-of-dixie-for-the-cw-network/#comments Wed, 01 Feb 2012 16:31:21 +0000 goktug http://www.titledesignproject.com/?p=1122 One Fine Day, the creative design/animation boutique led by Creative Directors Nathalie De La Gorce and Chris Haak – proved the old adage that “less is more” true with a new show open for the popular romantic comedy “Hart of Dixie” (seen Mondays on The CW Network). With great style, the open creatively distills the show’s essence into just ten eye-catching seconds.

“The piece was constructed as one continuous camera dolly and pan, with a combination of live action, still photography and CG elements all arranged in 3D,” Haak says. “We designed a 3D animated panoramic sky throughout to provide continuity and tie all of these disparate elements together.”

The open begins with street level shot of a pair of fashionable women’s shoes. The camera quickly pans straight up toward the city skyline as a bright sunburst gives way to a dolly-tracking shot past a “Welcome to Bluebell “ sign and toward an expansive country home. The open ends with a shot of the show’s star, Rachel Bilson, seated on a suitcase alongside a picture perfect lake, complete with a dock and gazebo off in the distance.

According to Haak, the opening shot of midtown New York was constructed by compositing several still photos into a panorama. All of the Bluebell elements were either rotoscoped from footage supplied by the client, or edited from still images.

Additionally, One Fine Day shot a number of HD motion elements of marsh grasses blowing in the wind to keep things from feeling too static, and to help transition between environments. For the final shot Bilson was filmed against a greenscreen in Los Angeles and composted into the scene.

“The CW Network was looking to capture the essence of this show, which tells the fish-out-of-water story of a young, New York City doctor who finds herself working in the small town Bluebell, Alabama,” Tom Bayer, One Fine Day Executive Producer, says.

For De La Gorce, the short running time meant many of these visual elements had to coexist on screen at the same time. Because of that one of the biggest challenges for the creative team was composing frames that would work well together.

“It was difficult to tell if elements would work together without seeing them composed with decent mattes and color corrections – we couldn’t just do a rough comp and to see how it looked,” De La Gorce says.  “We ended up doing a lot of perspective alteration or removal, not to mention color correction, to achieve the exact look we were after.”

]]> http://www.titledesignproject.com/2012/02/one-fine-day-travels-to-the-hart-of-dixie-for-the-cw-network/feed/ 0 Trollbäck + Company Designs Keith Olbermann Show Opener for Current TV http://www.titledesignproject.com/2011/07/trollback-company-designs-keith-olbermann-show-opener-for-current-tv/?utm_source=rss&utm_medium=rss&utm_campaign=trollback-company-designs-keith-olbermann-show-opener-for-current-tv http://www.titledesignproject.com/2011/07/trollback-company-designs-keith-olbermann-show-opener-for-current-tv/#comments Tue, 19 Jul 2011 14:23:39 +0000 goktug http://www.titledesignproject.com/?p=1117 New York based creative studio Trollbäck + Company designed the opening title sequence for the highly anticipated nightly commentary show, Countdown with Keith Olbermann. Considered one of the most progressive voices in the media, Olbermann returned to cable television June 20 on the Al Gore-helmed network Current TV.

Countdown’s move to Current TV opened up the opportunity to upgrade the show’s design to fall in line with the branding of the network. The creative team at Trollbäck focused on bringing the Countdown brand to a new sophisticated level that would speak to the existing fan base and reach a new audience.

The opener features Olbermann in an evening urban landscape surrounded by luminous elements appropriate for the new primetime slot. The final design was a sleek, updated version of the previous look and translated across all media and marketing of the show including website design, promos and print.

Credits

Creative Director: Anna Minkkinen

Executive Producer: Mike Eastwood

Designer: Adam Wentworth

Designer / Animator: Lloyd Alvarez

Animator: Edwin Santacruz

Animator: Eric Konon

Animator: Julie Siemon

Producer: Whitney Green

]]> http://www.titledesignproject.com/2011/07/trollback-company-designs-keith-olbermann-show-opener-for-current-tv/feed/ 0 The Green Lantern Title Sequence by yU+co http://www.titledesignproject.com/2011/07/the-green-lantern-title-sequence-by-yuco/?utm_source=rss&utm_medium=rss&utm_campaign=the-green-lantern-title-sequence-by-yuco http://www.titledesignproject.com/2011/07/the-green-lantern-title-sequence-by-yuco/#comments Fri, 15 Jul 2011 18:28:13 +0000 goktug http://www.titledesignproject.com/?p=1107 Looking to visually communicate the mythology of ”The Green Lantern” in a compelling way, studio Warner Bros. and director Martin Campbell turned to multi-disciplined creative design/visual effects studio yU+co, led by Creative Director Garson Yu, to design a :90 stereoscopic 3D main title sequence that not only grabbed the audience’s attention, but also brought them up to speed on the superhero’s history and set up the film’s first scene.
yU+co also created the film’s stereoscopic 3D main-on-end sequence and credit crawl, along with the main title and main-on-end sequences for this summer’s blockbuster, Pirates of the Caribbean: On Stranger Tides.
‘’The opening sequence was important to set up the backstory: there’s a whole mythology from the Green Lantern comic books that most people don’t know going into the movie,’’ Yu says. ‘’So the sequence has to fill you in on that legend before the movie starts. Aside from getting the information across, we wanted to establish a feeling for the world — a big, epic journey through space that says: ‘this is a big superhero movie.’’’
Rendered in stereoscopic 3D and perfectly wed to the resonant voiceover from actor Geoffrey Rush, the main title sequence opens with a shot of a green orb known as the ”emerald energy of will power” hovering in space. As the camera slowly pulls into the orb, we discover the planet Oa at its center, inhabited by the Guardians who oversee the universe and its 3,600 sectors — each with its own protective Green Lantern. As the giant animated emerald ring that gives each Green Lantern its superpower rushes toward the camera, it splinters into numerous streaks of green light that recall the look of fireflies, only moving in a precise military formation.
The lights then form a green-hued navigational grid that visually conveys the idea that there are many Green Lanterns all around the universe working together as intergalactic peacekeepers. Following a heroic shot of the Green Lantern logo, yU+co introduces us to The Green Lantern’s nemesis, an entity of fear known as the Parallax — seen as a fiery yellow ball of energy and light with an ominous-looking skull at its core. The final shot of the sequence depicts the face of Abin Sur, the only Green Lantern to ever defeat Parallax, encased in a purple mist and wearing an emerald ring on his outstretched hand.
‘’The energy of willpower is the key to the Green Lantern,’’ Yu adds.  ‘’It’s the source of his power. We took our cue from the visual effects in the movie, but created our own look for the opening — something that visualizes energy because the battle between the green energy of will, and the yellow energy of fear is key to film’s plot.  For the face of Abin Sur we wanted to set up this character so that the audience recognize him when they see him later. The design challenge was to stylize him as part of the nebula but still see him as Abin Sur. We overcome this challenge by projecting his purple face onto a 3D cloud like structure and composited it as part of the galaxy.’’
A Film Classic Provides Inspiration
Where the main title sequence was an exercise in digital creativity, for the main-on-end-sequence yU+co decided to incorporate an organic technique that was used to great effect in the sci-fi classic ”2001: A Space Odyssey.”
To create the unusual patterns of light and color that serve as the back drop for the key credits — rendered in striking green type before disappearing into vapor trails — yU+co used the high-res RED camera to shoot a variety of colored paints and lacquers as they’re poured into water and quickly spreads out. Those images, when blown up in size and composited into the 3D background, created the unusual effect and instantly resembled nebulas in our galaxy. The sequence was made even more powerful when perfectly edited to the guitar-infused techno soundtrack.
‘’It is important to think of 3D in the design stage, so you actually create a truly stereoscopic sequence,’’ Yu notes. ‘’For the opening, we tried to maximize the 3D effect by constantly moving past and through objects, nebulas and energy fields. All of the design events and elements are staged in stereo so they are all in truly logical 3D space. Without logic behind it the design won’t make sense.’’
In other yU+co news, in addition to their work on ”Pirates of the Caribbean: On Stranger Tides,” the company is currently working stereoscopic 3D title sequences for the upcoming ‘’Conan the Barbarian’’ reboot (Lionsgate) and ‘’Dolphin Tale’’ (Warner Bros.). The company also recently worked on the trailer for just released Ubisoft’s game ”Call of Juarez: The Cartel.”
About yU+co:  
Recognized as an industry leader in visual design and motion graphics with offices in Hollywood, Hong Kong, and Shanghai, yU+co. (www.yuco.com) specializes in main and end titles for film and television, visual effects, TV show opens and network graphics packages, theatrical logos, game cinematics and commercials. 
Creative Credits
Client: Warner Bros.
Project: The Green Lantern: Main Title Sequence (‘’Legend’’), Main-on-End Sequence, Credit Crawl
Design/Production: yU+co, Hollywood, CA
Creative Director/Design Lead: Garson Yu
Legend Opening Designers/Animators: Johnny Wong and Kina Choi
Main-on-End Designers/Animators: Etsuko Uji
Storyboard Designer: Edwin Baker
Comic story consultant: Johnny Ellsworth
Legend Opening Editor: Eric Anderson
Main-on-End Editor: Mike Parks
Stereo Supervisor and Lead Compositor: Stevan Del George
CG Supervisor and Lead Animator: Andrew Honacker
2D lead Compositors: Isa Alsup
Animators/Compositors: Gary Garza and Alex Yoon
2D Compositor: Owen Hammer
Matte Painters: MJ Sarmiento, Shahen Jordan
CG Artists: Mike Fisher, John Roumieh
EFX Artist: David Schoneveld
CG Lighter: Raphael Protti
C4D Artists: Masan Yi, Marc Leidy
Main-on-End EFX Prop Master: Jim Fox
IO: Jacob Medendorp, Adam Christensen
Associate Producer: Ryan Wilk
Producer: Sarah Coatts
Web Resources:
Click here to watch the ‘’Green Lantern’’ main title sequence:
Click here for more info about yU+co:
]]> http://www.titledesignproject.com/2011/07/the-green-lantern-title-sequence-by-yuco/feed/ 0 Trollbäck + Company Designs “The Stuff of Life” Open for TEDGlobal 2011 Conference http://www.titledesignproject.com/2011/07/trollback-company-designs-the-stuff-of-life-open-for-tedglobal-2011-conference/?utm_source=rss&utm_medium=rss&utm_campaign=trollback-company-designs-the-stuff-of-life-open-for-tedglobal-2011-conference http://www.titledesignproject.com/2011/07/trollback-company-designs-the-stuff-of-life-open-for-tedglobal-2011-conference/#comments Thu, 14 Jul 2011 19:02:53 +0000 goktug http://www.titledesignproject.com/?p=1102

Creative studio Trollbäck + Company has partnered with TEDGlobal to create the opening titles for the conference being held this week in Edinburgh, Scotland. TEDGlobal’s 2011 theme focuses on “The Stuff of Life” where speakers and attendees of the 4-day conference analyze the resources, technologies and skills that make life possible and keep it going — and the many things that make it interesting, enjoyable and worthwhile.

Trollbäck + Company has a long history of creating opening sequences for the prestigious TED brand. For this year’s titles the team explored the relationship between nature and science:

“Science and exploration help humans understand their lives by dissecting everything they can touch and feel, ” quotes Jakob Trollbäck, the company’s founder and executive creative director. This dissection can be seen in the show open as a variety of objects – both man-made and organic – are sliced to reveal their complex beauty.

Longtime creative collaborator of TED, executive creative director Jakob Trollbäck is a member and contributor to the conference, giving his own TED talk titled “Rethinking the Music Video” in 2008.

Credits

President / Executive Creative Director: Jakob Trollbäck

CEO / Executive Creative Director: Joe Wright

Executive Producer: Mike Eastwood

Head of Production: Erica Hirshfeld

Art Director: Christina Rüegg

Senior Designer / Technical Director: Peter Alfano

Technical Director: Justin Zurrow

Designer / Animator: Sean McClintock

 

 

 

 

 

]]> http://www.titledesignproject.com/2011/07/trollback-company-designs-the-stuff-of-life-open-for-tedglobal-2011-conference/feed/ 0 Trollbäck + Company Releases Video iphone App +loop http://www.titledesignproject.com/2011/07/trollback-company-releases-video-iphone-app-loop/?utm_source=rss&utm_medium=rss&utm_campaign=trollback-company-releases-video-iphone-app-loop http://www.titledesignproject.com/2011/07/trollback-company-releases-video-iphone-app-loop/#comments Tue, 12 Jul 2011 19:26:31 +0000 goktug http://www.titledesignproject.com/?p=1097

 

Creative studio Trollbäck + Company can now add iphone applications to its list of design services after the launch of their first app called +loop. Developed by Trollbäck + Company digital creative director Stephen Baker, +loop allows users to split their iphone screen into a custom grid of small video players that record and play back motion or still images. Users can choose from the full screen mode to create a juxtaposed video loop or record imagery in individual squares. The grid, frame offset and playback speed can be adjusted to create a wide variety of compositions. Video loops or composed still images can be exported to your iphone photo library. Examples of +loop videos can be found on the Trollbäck + Company Vimeo page. The app is available for $1.99 on itunes.

 

 

 

About

 

Trollbäck + Company is a creative studio communicating engaging ideas in the simplest, smartest and most visionary ways. Led by executive creative directors Jakob Trollbäck and Joe Wright, the collaborative group directs television commercials, designs film titles, brands networks and creates experience-based content for global brands. Past clients include advertising agencies BBDO, Anomaly, Euro RSCG and Y&R and brands Nike, Jaguar, HBO, ESPN and Target.

 

 

 

In addition to receiving a primetime Emmy for the opening title design on Mira Nair’s “Hysterical Blindness,” Trollbäck + Company has been profiled by Apple.com, featured in The New York Times, Creativity, Conde Nast and American Cinematographer and was showcased at the Cooper-Hewitt National Design Museum.

 

 

 

 

 

]]> http://www.titledesignproject.com/2011/07/trollback-company-releases-video-iphone-app-loop/feed/ 0 Resonance: Motion Graphic and Sound Design Collaboration http://www.titledesignproject.com/2011/07/resonance-motion-graphic-and-sound-design-collaboration/?utm_source=rss&utm_medium=rss&utm_campaign=resonance-motion-graphic-and-sound-design-collaboration http://www.titledesignproject.com/2011/07/resonance-motion-graphic-and-sound-design-collaboration/#comments Fri, 01 Jul 2011 16:29:52 +0000 goktug http://www.titledesignproject.com/?p=1091 This video absolutely fascinated me (and may have raised some goosebumps at times). Not only are the motion graphics and sound top-notch, but because it’s a matching-up of collaborators, each piece is distinct and forces you to examine it both visually and audibly. Resonance is the collaborative vision of SR Partners and seeks to explore the relationship between geometry and sound. Motion Graphic designers and Audio artists were paired off and directed to create 12-20 second clips. This is the result:

 

RESONANCE from Resonance on Vimeo.

Via Design.org: http://design.org/blog/resonance-motion-graphic-and-sound-design-collaboration#ixzz1Qs7NIady

]]> http://www.titledesignproject.com/2011/07/resonance-motion-graphic-and-sound-design-collaboration/feed/ 0 -yU+co illuminates ”The Green Lantern”With Stunning Stereoscopic 3D Title Sequences http://www.titledesignproject.com/2011/06/yuco-illuminates-the-green-lanternwith-stunning-stereoscopic-3d-title-sequences/?utm_source=rss&utm_medium=rss&utm_campaign=yuco-illuminates-the-green-lanternwith-stunning-stereoscopic-3d-title-sequences http://www.titledesignproject.com/2011/06/yuco-illuminates-the-green-lanternwith-stunning-stereoscopic-3d-title-sequences/#comments Tue, 28 Jun 2011 18:47:46 +0000 goktug http://www.titledesignproject.com/?p=1085

 

Looking to visually communicate the mythology of ”The Green Lantern” in a compelling way, studio Warner Bros. and director Martin Campbell turned to multi-disciplined creative design/visual effects studio yU+co, led by Creative Director Garson Yu, to design a :90 stereoscopic 3D main title sequence that not only grabbed the audience’s attention, but also brought them up to speed on the superhero’s history and set up the film’s first scene.
yU+co also created the film’s stereoscopic 3D main-on-end sequence and credit crawl, along with the main title and main-on-end sequences for this summer’s blockbuster, Pirates of the Caribbean: On Stranger Tides.
‘’The opening sequence was important to set up the backstory: there’s a whole mythology from the Green Lantern comic books that most people don’t know going into the movie,’’ Yu says. ‘’So the sequence has to fill you in on that legend before the movie starts. Aside from getting the information across, we wanted to establish a feeling for the world — a big, epic journey through space that says: ‘this is a big superhero movie.’’’
Rendered in stereoscopic 3D and perfectly wed to the resonant voiceover from actor Geoffrey Rush, the main title sequence opens with a shot of a green orb known as the ”emerald energy of will power” hovering in space. As the camera slowly pulls into the orb, we discover the planet Oa at its center, inhabited by the Guardians who oversee the universe and its 3,600 sectors — each with its own protective Green Lantern. As the giant animated emerald ring that gives each Green Lantern its superpower rushes toward the camera, it splinters into numerous streaks of green light that recall the look of fireflies, only moving in a precise military formation.
The lights then form a green-hued navigational grid that visually conveys the idea that there are many Green Lanterns all around the universe working together as intergalactic peacekeepers. Following a heroic shot of the Green Lantern logo, yU+co introduces us to The Green Lantern’s nemesis, an entity of fear known as the Parallax — seen as a fiery yellow ball of energy and light with an ominous-looking skull at its core. The final shot of the sequence depicts the face of Abin Sur, the only Green Lantern to ever defeat Parallax, encased in a purple mist and wearing an emerald ring on his outstretched hand.
‘’The energy of willpower is the key to the Green Lantern,’’ Yu adds.  ‘’It’s the source of his power. We took our cue from the visual effects in the movie, but created our own look for the opening — something that visualizes energy because the battle between the green energy of will, and the yellow energy of fear is key to film’s plot.  For the face of Abin Sur we wanted to set up this character so that the audience recognize him when they see him later. The design challenge was to stylize him as part of the nebula but still see him as Abin Sur. We overcome this challenge by projecting his purple face onto a 3D cloud like structure and composited it as part of the galaxy.’’
A Film Classic Provides Inspiration
Where the main title sequence was an exercise in digital creativity, for the main-on-end-sequence yU+co decided to incorporate an organic technique that was used to great effect in the sci-fi classic ”2001: A Space Odyssey.”
To create the unusual patterns of light and color that serve as the back drop for the key credits — rendered in striking green type before disappearing into vapor trails — yU+co used the high-res RED camera to shoot a variety of colored paints and lacquers as they’re poured into water and quickly spreads out. Those images, when blown up in size and composited into the 3D background, created the unusual effect and instantly resembled nebulas in our galaxy. The sequence was made even more powerful when perfectly edited to the guitar-infused techno soundtrack.
‘’It is important to think of 3D in the design stage, so you actually create a truly stereoscopic sequence,’’ Yu notes. ‘’For the opening, we tried to maximize the 3D effect by constantly moving past and through objects, nebulas and energy fields. All of the design events and elements are staged in stereo so they are all in truly logical 3D space. Without logic behind it the design won’t make sense.’’
In other yU+co news, in addition to their work on ”Pirates of the Caribbean: On Stranger Tides,” the company is currently working stereoscopic 3D title sequences for the upcoming ‘’Conan the Barbarian’’ reboot (Lionsgate) and ‘’Dolphin Tale’’ (Warner Bros.). The company also recently worked on the trailer for just released Ubisoft’s game ”Call of Juarez: The Cartel.”
About yU+co:
Recognized as an industry leader in visual design and motion graphics with offices in Hollywood, Hong Kong, and Shanghai, yU+co. (www.yuco.com) specializes in main and end titles for film and television, visual effects, TV show opens and network graphics packages, theatrical logos, game cinematics and commercials. For more information, contact Director of Business Development Dianna Costello (323-606-5050, dianna@yuco.com).
Creative Credits
Client: Warner Bros.
Project: The Green Lantern: Main Title Sequence (‘’Legend’’), Main-on-End Sequence, Credit Crawl
Design/Production: yU+co, Hollywood, CA
Creative Director/Design Lead: Garson Yu
Legend Opening Designers/Animators: Johnny Wong and Kina Choi
Main-on-End Designers/Animators: Etsuko Uji
Storyboard Designer: Edwin Baker
Comic story consultant: Johnny Ellsworth
Legend Opening Editor: Eric Anderson
Main-on-End Editor: Mike Parks
Stereo Supervisor and Lead Compositor: Stevan Del George
CG Supervisor and Lead Animator: Andrew Honacker
2D lead Compositors: Isa Alsup
Animators/Compositors: Gary Garza and Alex Yoon
2D Compositor: Owen Hammer
Matte Painters: MJ Sarmiento, Shahen Jordan
CG Artists: Mike Fisher, John Roumieh
EFX Artist: David Schoneveld
CG Lighter: Raphael Protti
C4D Artists: Masan Yi, Marc Leidy
Main-on-End EFX Prop Master: Jim Fox
IO: Jacob Medendorp, Adam Christensen
Associate Producer: Ryan Wilk
Producer: Sarah Coatts
Web Resources:
Click here to watch the ‘’Green Lantern’’ main title sequence:
Click here for more info about yU+co:
]]> http://www.titledesignproject.com/2011/06/yuco-illuminates-the-green-lanternwith-stunning-stereoscopic-3d-title-sequences/feed/ 0 The Dunwich Horror Title Sequence by Sandy Dvore http://www.titledesignproject.com/2011/05/the-dunwich-horror-title-sequence-by-sandy-dvore/?utm_source=rss&utm_medium=rss&utm_campaign=the-dunwich-horror-title-sequence-by-sandy-dvore http://www.titledesignproject.com/2011/05/the-dunwich-horror-title-sequence-by-sandy-dvore/#comments Thu, 26 May 2011 16:43:43 +0000 goktug http://www.titledesignproject.com/?p=1078 The Dunwich Horror is a 1970 B-movie from American International Pictures directed by Daniel Haller and produced by Roger Corman. The film was based on the short story of the same name by H.P. Lovecraft with a script co-written by future Academy Award winning director Curtis Hanson.

Sandy Dvore is an American artist and graphic designer.Dvore first became well-known for designing the cover art for Buffalo Springfield’s eponymous album. He is best known for his work in designing television’s more iconic title sequences, such as the walking partridges in The Partridge Family, and the brush-stroke logo and paintings from the long-running soap opera The Young and the Restless.

His film title credits include the 1976 film Lipstick and the 1972 Blaxploitation thriller Blacula. Also, he designed the opening credits for selected seasons of the nighttime soap opera Knots Landing.Dvore’s close friend is producer and director Bob Claver, who convinced Screen Gems to hire him to do the opener for The Partridge Family as well as other subsequent shows.

Dvore’s work in graphic design won him an Emmy Award in 1987 for “Carol, Carl, Whoopi and Robin”.

 

]]> http://www.titledesignproject.com/2011/05/the-dunwich-horror-title-sequence-by-sandy-dvore/feed/ 0 Tapped Title Sequence http://www.titledesignproject.com/2011/05/tapped-title-sequence/?utm_source=rss&utm_medium=rss&utm_campaign=tapped-title-sequence http://www.titledesignproject.com/2011/05/tapped-title-sequence/#comments Wed, 25 May 2011 16:00:23 +0000 goktug http://www.titledesignproject.com/?p=1070 Tapped examines the role of the bottled water industry and its’ effects on our health, climate change, pollution, and our reliance on oil.

From the producers of Who Killed the Electric Car and I.O.U.S.A., this timely documentary is a behind-the-scenes look into the unregulated and unseen world of an industry that aims to privatize and sell back the one resource that ought never become a commodity: our water.

]]> http://www.titledesignproject.com/2011/05/tapped-title-sequence/feed/ 0 Sabotage Title Sequence http://www.titledesignproject.com/2011/05/sabotage-title-sequence/?utm_source=rss&utm_medium=rss&utm_campaign=sabotage-title-sequence http://www.titledesignproject.com/2011/05/sabotage-title-sequence/#comments Mon, 23 May 2011 13:33:06 +0000 goktug http://www.titledesignproject.com/?p=1065 Sabotage, also released as The Woman Alone, is a 1936 British thriller film directed by Alfred Hitchcock. It is based on Joseph Conrad’s novel The Secret Agent. It should not be confused with Hitchcock’s film Secret Agent released the same year, or his 1942 film Saboteur.

]]> http://www.titledesignproject.com/2011/05/sabotage-title-sequence/feed/ 0 Pause Fest 2011 | Open for submissions! http://www.titledesignproject.com/2011/05/pause-fest-2011-open-for-submissions/?utm_source=rss&utm_medium=rss&utm_campaign=pause-fest-2011-open-for-submissions http://www.titledesignproject.com/2011/05/pause-fest-2011-open-for-submissions/#comments Wed, 18 May 2011 14:28:11 +0000 goktug http://www.titledesignproject.com/?p=1060

 

Melbourne’s already vibrant cultural and arts scene is about to receive a fresh new feel and perspective with the launch of its first digital festival. Pause Fest, which will be held from the 7th-13th November 2011, is about the new, innovative, interactive, exciting, creative and contemporary in the digital, advertising and creative industries featuring some of the world’s most creative minds of the 21st century.

This exciting addition to Melbourne’s cultural landscape has launched their impressive website which provides information about the amazing local and international artists and agencies that will be taking part in this years inaugural festival. The website features profiles, interviews and show reels from the likes of industry heavyweights such as Tronic Studio (USA), Fantasy Interactive (SWE), Director Kobayashi (UK), Leviathan (USA), Plenty (ARG), Physalia (ESP) as well as talented solo artists making waves in the industry: Dima Grubin (BLR), Andrey Muratov (RUS), Ronaldo Tozzi (BRA), Antonis Zagoraios (GRE), Dante Nou (AUS) and many others.

Pause Fest’s mission is to transform the city into an open gallery and create networking opportunities as well as dazzling visual and interactive experiences for both artists and the general public. That’s why Pause Fest has a number of opportunities for creatives to get involved and welcomes all submission whether from agencies that are looking to expand their scope and be part of something truly unique and innovative, or from solo artists who would like an opportunity to have their work showcased to an international and national audience.

Pause Fest is looking for a range of different types of talent to be involved, from local agencies and artists, production houses to musicians, performers and VJs to truly show off the plethora of creative activity that Melbourne offers. The festival will be an amalgamation of open exhibitions, interactive displays, live musical performances, visual projections, brand and product launches and new technologies.

Submission forms for show reels, animation, anything that moves and is at the cutting edge of the creative industries or blurs the creative boundaries can be found online on the Pause Fest website as well as submission for their world wide open poster contest for graphic artists. Submissions close September 1st 2011.

The type of submission Pause Fest is looking for are:

• Show reels of animations, anything that moves or is 3D
• Interactive displays and exhibitions
• Product and brand launch events to be part of the festival – anything that is new and innovative from concept cars to new technologies and communication devices
• Visual projections that truly dazzle
• Musical and live performances of any kind and any genre
• Poster graphics for the Pause Fest poster
• And anything to that is digital and kick’s ass!

Contact: submissions@pausefest.com.au

]]> http://www.titledesignproject.com/2011/05/pause-fest-2011-open-for-submissions/feed/ 0 The Billion Dollar Brain Title Sequence by Maurice Binder http://www.titledesignproject.com/2011/04/the-billion-dollar-brain-title-sequence-by-maurice-binder/?utm_source=rss&utm_medium=rss&utm_campaign=the-billion-dollar-brain-title-sequence-by-maurice-binder http://www.titledesignproject.com/2011/04/the-billion-dollar-brain-title-sequence-by-maurice-binder/#comments Tue, 05 Apr 2011 19:29:23 +0000 goktug http://www.titledesignproject.com/?p=1046 Billion Dollar Brain is a 1967 British espionage film directed by Ken Russell and based on the novel
Billion-Dollar Brain by Len Deighton.

The film features Michael Caine as secret agent Harry Palmer, the anti-hero protagonist of the film versions
of The IPCRESS File (1965) and Funeral in Berlin (1966). The “brain” of the title is a sophisticated
computer with which an ultra-right-wing organization controls its worldwide anti-Soviet spy network.

The glittering “Main Title” brilliantly accompanies Maurice Binder’s title sequence inspired by 1960s
supercomputer operations. Like Bernard Herrmann, Bennett achieves remarkably epic and varied sonorities with minimal forces, orchestrating the music himself.

http://www.filmscoremonthly.com/notes/billion_dollar_brain.html

http://en.wikipedia.org/wiki/Billion_Dollar_Brain

]]> http://www.titledesignproject.com/2011/04/the-billion-dollar-brain-title-sequence-by-maurice-binder/feed/ 0 Mad Men Title Sequence by Imaginary Forces http://www.titledesignproject.com/2011/04/mad-men-title-sequence-by-imaginary-forces/?utm_source=rss&utm_medium=rss&utm_campaign=mad-men-title-sequence-by-imaginary-forces http://www.titledesignproject.com/2011/04/mad-men-title-sequence-by-imaginary-forces/#comments Fri, 01 Apr 2011 19:11:45 +0000 goktug http://www.titledesignproject.com/?p=1027 The title sequence and promo package was the work of Imaginary Forces directors Mark Gardner and Steve Fuller. It was executive produced for the studio by Maribeth Phillips and produced by Cara McKenney.According to IF’s Gardner, the challenge the studio faced in this project was to connect a 1960s period TV series with today’s audiences. “We approached the opening title sequence like a live action film title project instead of a purely animated piece,” he explains.
“The disciplined use of camera angles, combined with sophisticated graphics, achieves an insight into the main character’s subconscious and the precarious duality of his “boy’s club’ career juxtaposed against his perfect nuclear family,” Gardner continues. “It’s as if he’s created this monster, really. The character of Don Draper is a conflicted, tortured soul.
“The action of falling past endless skyscraper walls creates a claustrophobia and helplessness,” adds IF director Steve Fuller, “which is abruptly cut short by his composed, reclining pose.”
Weiner described that closing shot as reflecting a tremendous sense of confidence, while also being mysterious. As for the character’s free-fall from the office suite, past the skyscrapers bedecked with advertising imagery, Weiner explains, “It captures the story of the show—that of a character who’s calm on the outside and in free-fall on the inside.”
Both Weiner and series producer Scott Hornbacher were impressed by the way the IF team managed to incorporate thirty different on-screen credits in the span of the thirty-second show opening. Weiner says he expressly did not want any titles to appear over the program content, as he was striving for a more cinematic feel to the opening title sequence. “A lot of studios might have just thrown type up on the screen, but this solution left everyone feeling that the cinematic feel of the opening was preserved.”
Geoffrey Whelan, V.P., Brand Creative Director for AMC, says the closing image of the title sequence has not only become the branding device for the show, but has also been the image used in its print advertising and key art. “It’s an iconic image that pays off on every level,” Whelan says. “This felt like the best creative choice for us at AMC.”

http://adland.tv/commercials/mad-men-title-sequence-2007-30-usa

]]> http://www.titledesignproject.com/2011/04/mad-men-title-sequence-by-imaginary-forces/feed/ 0 The Trollenberg Terror Title Sequence http://www.titledesignproject.com/2011/03/the-trollenberg-terror-title-sequence/?utm_source=rss&utm_medium=rss&utm_campaign=the-trollenberg-terror-title-sequence http://www.titledesignproject.com/2011/03/the-trollenberg-terror-title-sequence/#comments Tue, 29 Mar 2011 19:15:54 +0000 goktug http://www.titledesignproject.com/?p=975 The Trollenberg Terror is the title of both a 1956 “Saturday Serial” ITV UK television programme and a better-known 1958 black and white science fiction film.

The latter is also known as The Crawling Eye, Creature from Another World, The Creeping Eye, and The Flying Eye. Both versions are directed by Quentin Lawrence and feature Laurence Payne as journalist Philip Truscott, who investigates unusual accidents occurring at a Swiss resort. The film also stars Forrest Tucker as United Nations troubleshooter Alan Brooks.

Peter Key wrote the story for the serial, and Jimmy Sangster scripted the film version based on Keys’s story. It was the final film to be produced by Southall Studios, one of the earliest pioneer film studios in the UK.

]]> http://www.titledesignproject.com/2011/03/the-trollenberg-terror-title-sequence/feed/ 0 The Tall Blond Man with One Black Shoe Title Sequence http://www.titledesignproject.com/2011/03/the-tall-blond-man-with-one-black-shoe-title-sequence/?utm_source=rss&utm_medium=rss&utm_campaign=the-tall-blond-man-with-one-black-shoe-title-sequence http://www.titledesignproject.com/2011/03/the-tall-blond-man-with-one-black-shoe-title-sequence/#comments Tue, 29 Mar 2011 17:26:50 +0000 goktug http://www.titledesignproject.com/?p=970 The Tall Blond Man with One Black Shoe (French: Le Grand Blond avec une chaussure noire) is a 1972 French comedy film directed by Yves Robert, written by Francis Veber, starring Pierre Richard, Jean Rochefort and Bernard Blier.

The film’s sequel, Le Retour du Grand Blond, was released in 1974.

]]> http://www.titledesignproject.com/2011/03/the-tall-blond-man-with-one-black-shoe-title-sequence/feed/ 0 Charade Title Sequence by Maurice Binder http://www.titledesignproject.com/2011/03/charade-title-sequence-by-maurice-binder/?utm_source=rss&utm_medium=rss&utm_campaign=charade-title-sequence-by-maurice-binder http://www.titledesignproject.com/2011/03/charade-title-sequence-by-maurice-binder/#comments Mon, 28 Mar 2011 17:14:19 +0000 goktug http://www.titledesignproject.com/?p=956 The film is notable for its screenplay, especially the repartee between Grant and Hepburn, for having been filmed on location in Paris, for Henry Mancini’s score and theme song, and for the animated titles by Maurice Binder.

Charade has been referred to as “the best Hitchcock movie that Hitchcock never made.

]]> http://www.titledesignproject.com/2011/03/charade-title-sequence-by-maurice-binder/feed/ 0 Easy A Title Sequence by Picture Mill http://www.titledesignproject.com/2011/03/easy-a-title-sequence-by-picture-mill/?utm_source=rss&utm_medium=rss&utm_campaign=easy-a-title-sequence-by-picture-mill http://www.titledesignproject.com/2011/03/easy-a-title-sequence-by-picture-mill/#comments Fri, 25 Mar 2011 18:10:11 +0000 goktug http://www.titledesignproject.com/?p=950 Collaborating with director Will Gluck, Picture Mill created titles integrated with each shot, a challenge when faced with such an active crowd scene in the high school’s courtyard. Will liked the treatment so much, he wanted the concept to continue for the unique end crawl.

]]> http://www.titledesignproject.com/2011/03/easy-a-title-sequence-by-picture-mill/feed/ 0 Trollbäck + Company Launches Digital Division http://www.titledesignproject.com/2011/03/trollback-company-launches-digital-division/?utm_source=rss&utm_medium=rss&utm_campaign=trollback-company-launches-digital-division http://www.titledesignproject.com/2011/03/trollback-company-launches-digital-division/#comments Fri, 25 Mar 2011 15:34:52 +0000 goktug http://www.titledesignproject.com/?p=937

New York, New York, March 24, 2011 – Creative Studio Trollbäck + Company launched its digital division early March to expand its experience design capabilities and provide integrated digital solutions and interactive media for advertising / branding campaigns and public space installations.

 

Making the decision to expand into digital was strategic yet organic, considering Trollbäck + Company has worked over the past ten years extensively within the commercial, network and entertainment industries. Executive Creative Director Jakob Trollbäck states, “Our work has always been about creating experiences. For us, it was natural to venture into more immersive, engaging projects that are both emotional and intellectual.”

 

After a successful run at his award-winning agency, Red Antenna, Digital Creative Director, Stephen Baker joins Trollbäck + Company to helm the T+Co Digital Division. With a background in both design and programming, Steve has the cross-discipline perspective to develop highly visual interactive experiences. His work with clients such as American Express, Sony, VH1 and Nokia has earned him industry and peer praise. Most recently, Baker played an instrumental role in the programming for a collaborative display in Times Square that invites pedestrians to submit answers and photos via text message. He has also developed interactive works for international museums, commercial and art exhibits in Abu Dhabi, Doha, Antwerp and London.

 

The T+Co Digital Division now has the capabilities to complement advertising and branding campaigns with digital solutions as well as explore opportunities in exclusive experience design projects. Baker will be collaborating directly with the design team on digital initiatives. “I?m looking forward to working with Trollbäck + Company to enhance the art of moving image and interactive design by combining the strengths of both fields. I’ve admired the quality and aesthetic of their work for years – always inspiring, memorable and bold.” Trollbäck on Baker, “Steve has a unique talent to see opportunities for immersive interactions and can quickly figure out how to make them come to life. We’ve collaborated with him over the years at Red Antenna and were impressed. We’re delighted to have him join the team.”

 

Trollbäck + Company is no stranger to experience design and large display installations. Previous digital projects include: content for the Gehry IAC wall, the 2012 Olympics campaign displayed in Times Square graphics and most recently a project for Metlife at the New Meadowlands Arena 54-foot monitor.

 

As Trollbäck + Company looks towards its future, the goal remains to tell dynamic visual stories for existing clients while also collaborating on digital experience projects. With this expansion, the studio sees the new opportunity to present narratives as an experience and immerse all senses through an environment.

 

 

About

Trollbäck + Company is a creative studio communicating engaging ideas in the simplest, smartest and most visionary ways. Led by executive creative directors Jakob Trollbäck and Joe Wright, the collaborative group makes commercials, brands networks, designs film titles and creates digital experiences. The trademark approach relies on unorthodox thinking and immersive storytelling, and that a compelling and focused message is essential for any successful communication.

Past and present clients include: Nickelodeon, A&E, HBO, TNT, AMC, RED, Jaguar, Nike and the New York Times Magazine. Trollbäck + Company has received numerous awards including the Broadcast Designers Association Awards for network branding work, a Prime Time Emmy and four Emmy Nominations for Title Design. For more information, visit www.trollback.com

 

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