Best of Title Sequences
Best of Title Sequences
Directed by Guilherme Marcondes
Produced by Hornet Inc.
Executive Producer: Michael Feder
Producer: Hana Shimizu
Animation
Producer: Jan Wohrle
Lead Compositor: John Harrison
Compositors: Yussef Cole, Julien Koetsch, Arthur Hur
Storyboard Artists: Tom Lintern, Carlos Ancalmo
Character Design: Rafael Grampá, Mike Luzzi
Background Design: Morgan Schweitzer
Character Animation: Mike Luzzi
Additional Animation: Frank Summers, Keng-Ming Liu
Editor: Joe Suslak
Live Action
Director of Photography: Toshiaki Ozawa
Live Action Producer: Joel Kretschman
Assistant Director: Jeff Lazar
1st Assistant Camera: Scott Maguire
Gaffer: Michael Yetter
Best Boy: Rich Ulivella
Key Grip: Joe Mandeville
Art Director: Ryan Heck
Asst. Art Director: Andy Byers
Set Design: Andrezza Valentin
Puppet Fabrication: K&Z Studio Inc., Adam Parker Smith & Carolyn Salas
Puppeteers: Adam Pagdon, Ulysses Jones, Megan McNerney, Celli Clemmons
Production Assistants: Matthew Churchill, Rick Matera, Connie Li Chan
PRODUCTION STILLS
Title Director: Jamie Caliri
Animation: Anthony Scott
Illustration: Alex Juhasz
Art Department Lead: Morgan Hay
Art Department Assistant: Yoriko Murakami
Executive Producer: Mark Medernach
Line Producer: Daniel Ridgers
Production Assistants: Amanda Belden Scharnberg, Ashley Calhoun, Richie McCord
Production Company (titles): DUCK
Client: Showtime
AIGA San Francisco continues its series of evening events that focus on interactive design topics. Intended for designers with beginning to intermediate experience with designing and building for the web, tablet and mobile environments, each event will give you the chance to learn from local experts as well as share your own knowledge with other attendees.
The sessions will be a combination of lecture, discussion, and workshop activities, so bring your sketch pads and thinking caps.
What are the essential principles of solid motion design? In what ways can motion be used to enhance storytelling or sell an idea? Where do transitions come into play? How can you bring your own designs to life? Where to start?
Join Justin Katz as he discusses best practices that drive effective motion design – the basics and BEYOND! Justin will cover conception to completion so that you can be prepared when working with motion and motion designers. He’ll take you through how he plans an animation — from scripting, thumbnails, storyboarding, style frames, animatics, rough cuts, audio, animation, editing and color correction.
Get the kick start you need to experiment with the art form yourself. If you’re just getting into motion or even already have a working skill set, you don’t want to miss this inpiring event.
http://aigasf.org/events/2012/02/16/interactive_chats_motion_design
Demonstrating they are smarter than the average design/production studio, yU+co. crafted a glorious stereoscopic 3D main-on-end title sequence for the new Warner Bros animated film Yogi Bear. Led by Synderela Peng, Art Director on the design and Richard Taylor, VFX Director on the production, and Producer Sarah Coatts, the team created a sequence that cleverly incorporates stylistic elements of Saul Bass with the madcap nature of Hanna-Barbera’s animation to create something truly its own.
Studio: Digital Kitchen
Creative Director: Matt Mulder
Lead Designers: Noah Conopask, Cody Cobb, Ryan Gagnier
Animatiors: Ryan Gagnier, David Holm, Pete Kallstrom, Matt LaVoy, Dayvd Chan
3D: Cody Cobb, Igor Choromanski, Gordana Fersini, Thiago Costa
Editor: Dave Molloy
Producer: Jill Johns, Colin Davis
Executive Producer: Mark Bashore
Digital Kitchen: The Company Titles
Source: motionographer.com
New work is often posted in waves, and such is the case for recently featured Digital Kitchen. Their title sequence for mini-series The Company is a beautifully atmospheric piece that shows DK’s diversity of style and sensitivity to subject matter.
I asked producer Colin Davis a couple questions about the project, and he supplied some nice details:
Technique:
The technique was a hybrid of procedural and hand-done cell animation. Technically speaking, this is a mixture of 3D animation with both procedural (2D + 3D + Hair + Ink + Particles) and hand drawn cross-hatching. All the rabbits were hand-sketched — we literally took every other frame (12fps) into Photoshop and drew on top.Timeline:
The whole main title process lasted from August through early June, but for the final product shipped, the hard-core production lasted about 12 weeks.
DK’s attention to detail and love of the craft is obvious. Oh, and the typographic choice of Caslon was a nice, classic move. For a show about the CIA, they could have gone an entirely different route, opting for more of a Mission Impossible sans serif, something that screams “THIS SHOW IS ABOUT SPIES!”
Emmy nominated in 2008.