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Monday 21 November 2011
Tuesday 15 November 2011
"Art Of The Tittle Throughout History" Article homework
"During the 1920s and ’30s, European cinema was deeply influenced by modernism, and aspects of this visual sensibility were brought to the US by filmmakers who were fleeing the Nazis. Meanwhile, the studio systems operating in Europe and Hollywood also delighted in creating titles that featured vernacular graphic novelties. As much as possible, they liked to convey the tone of a movie through the “dressage” of its main title. Thus, blackletter fonts in the opening credits were used to evoke horror, ribbons and flowery lettering suggested love, and typography that would have been used on “Wanted” posters connoted a western flick."
- This paragraph is telling us how in the old 1920's titles they used the typography of the titles to hint to audiences what the genre of the film is and the simple graphics. they started to make titles like this at beginnings of films as it made there profit considerately more than just title cards.
Experimentation on the fringes, where title sequences really thrive, have led to all kinds of innovation in what a title can be and how it can serve the story and the director’s intent. Perceptive directors like Otto Preminger, Alfred Hitchcock, Blake Edwards and Stanley Donen embraced these innovators and gave them the reign to surprise audiences from the opening shots. The Bond films, the Pink Panther series, Barbarella: the sequences for such films became enticing and often sexy popular amusements. By the mid-1960s the top title designers were celebrities in their own right, people who could be relied on to deal with the messy business of credits with playful panache.
- this is explaining that the titles are very important sequences and there are no set rules for title sequences designers have opportunities to surprise audiences with new ideas for the title sequence that can wow people creating positive change to the world of titles. Title designers are celebrities in their own right as the work put into a title sequence can be just as important as the film itself, this is because it is the first thing before the film if u get bored and are not interested already then its potentially going to loose the audience.
Every sphere of contemporary life — and especially the film business — has been affected by computers. For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mid-1990s. At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do. That apprenticeship tradition has largely been overshadowed by the rise of popular technology, the Internet-enabled archiving of everything and the plethora of schools that propagate countless design disciplines. Most significantly, we see designers working like filmmakers and filmmakers working like designers.
-as years go by technology increases to thrive which means there are many different technologies to use to create a more exiting title sequence and teach other designers what can be achieved trough technology. kyle cooper took opportunities that were given through technology to create amazing titles.
The potential of digital graphics and typography has attracted some of the most creative minds to motion design. Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences. Using animated characters to introduce viewers to the story became a popular trend. Such talented graphic designers as Susan Bradley (Toy Story, Monsters, Inc., WALL-E, Ratatouille), Jaimi Caliri (Lemony Snicket’s A Series of Unfortunate Events), Dave Nalle (Corpse Bride), Michael Riley (The Back-Up Plan, Kung Fu Panda) and Michael Curtis (Brother Bear) use all manner of tools to test different approaches to designing titles. One thing these individuals have in common is a drive to find a strong metaphor and tell an exciting story with their sequences.
- All these designers use typography and graphic design to create branding when people watch a title sequence for example disney have the individual typography so that when we see this kind of writing we know that it would be a disney film. also they are trying to create meaning a slight hints as to what to expect in the film and tell a story through the way they design the title sequence.
A consequence of this digital era seems to be that modern title design will forever rely on progressive technologies. Yet, in one of his interviews, Kyle Cooper states that while the power of computer graphics is obvious, he still likes experimenting with live action, because there is something special about the imperfection of making things by hand.
-This is simply telling us that through the progressive rise in technology modern titles will soon become reliant upon digital technologies however kyle cooper is saying that although modern technology is around he still likes the idea of making his own things and the imperfections it brings that can also be special.
- This paragraph is telling us how in the old 1920's titles they used the typography of the titles to hint to audiences what the genre of the film is and the simple graphics. they started to make titles like this at beginnings of films as it made there profit considerately more than just title cards.
Experimentation on the fringes, where title sequences really thrive, have led to all kinds of innovation in what a title can be and how it can serve the story and the director’s intent. Perceptive directors like Otto Preminger, Alfred Hitchcock, Blake Edwards and Stanley Donen embraced these innovators and gave them the reign to surprise audiences from the opening shots. The Bond films, the Pink Panther series, Barbarella: the sequences for such films became enticing and often sexy popular amusements. By the mid-1960s the top title designers were celebrities in their own right, people who could be relied on to deal with the messy business of credits with playful panache.
- this is explaining that the titles are very important sequences and there are no set rules for title sequences designers have opportunities to surprise audiences with new ideas for the title sequence that can wow people creating positive change to the world of titles. Title designers are celebrities in their own right as the work put into a title sequence can be just as important as the film itself, this is because it is the first thing before the film if u get bored and are not interested already then its potentially going to loose the audience.
Every sphere of contemporary life — and especially the film business — has been affected by computers. For designers, creating film titles meant participating in the apprenticeship tradition — learning by doing, on the job; that continued unabated into the mid-1990s. At that time, dynamic openers by Kyle Cooper and others showed what the next generation of design-educated, film-literate, tech-savvy creatives could do. That apprenticeship tradition has largely been overshadowed by the rise of popular technology, the Internet-enabled archiving of everything and the plethora of schools that propagate countless design disciplines. Most significantly, we see designers working like filmmakers and filmmakers working like designers.
-as years go by technology increases to thrive which means there are many different technologies to use to create a more exiting title sequence and teach other designers what can be achieved trough technology. kyle cooper took opportunities that were given through technology to create amazing titles.
The potential of digital graphics and typography has attracted some of the most creative minds to motion design. Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences. Using animated characters to introduce viewers to the story became a popular trend. Such talented graphic designers as Susan Bradley (Toy Story, Monsters, Inc., WALL-E, Ratatouille), Jaimi Caliri (Lemony Snicket’s A Series of Unfortunate Events), Dave Nalle (Corpse Bride), Michael Riley (The Back-Up Plan, Kung Fu Panda) and Michael Curtis (Brother Bear) use all manner of tools to test different approaches to designing titles. One thing these individuals have in common is a drive to find a strong metaphor and tell an exciting story with their sequences.
- All these designers use typography and graphic design to create branding when people watch a title sequence for example disney have the individual typography so that when we see this kind of writing we know that it would be a disney film. also they are trying to create meaning a slight hints as to what to expect in the film and tell a story through the way they design the title sequence.
A consequence of this digital era seems to be that modern title design will forever rely on progressive technologies. Yet, in one of his interviews, Kyle Cooper states that while the power of computer graphics is obvious, he still likes experimenting with live action, because there is something special about the imperfection of making things by hand.
-This is simply telling us that through the progressive rise in technology modern titles will soon become reliant upon digital technologies however kyle cooper is saying that although modern technology is around he still likes the idea of making his own things and the imperfections it brings that can also be special.
Tuesday 8 November 2011
Zombieland Tittle Sequence Analysis
This title sequence establishes what the film could be about by the use of colours. in each shot we see the two significant colours are black and red which automatically draw our attention that this is a horror film also the use of red ‘splatters’ in the shots appear to be blood, we relate red to being the colour of blood and the way they are shaped represents blood splatters in its self.
We then move on to looking at the typography in each shot the use of block capitals have an army type look to them which suggests to the audience that there could be an element of action in the film we are then shown a gun made out of blood and what looks to be an aiming part of a gun which suggests an action genre as well as horror. The guns Target suggests people are targeted in the film and also the bloody hand prints we see in the title sequence tell us that there is a lot of death featured in this film we no that there are people in danger by the hand prints.
although there is blood and guns in the title sequence it also has a cartoon type vibe to with which suggests to the audience that they are not quite serious about it and therefore tells us that there may be comical elements to it.
The strange shapes in the sequence suggest disorientation.
The use of sound in the sequence is very much heavily instrumental and fasted paced reffering to the film which connotes the face paced movements within. The music also has that slight action theme to it. The name zombieland tells the audience immidietly that the film is about zombies as well as people.
Friday 4 November 2011
CODES CONVENTIONS AND PURPOSE OF A TITLE SEQUENCE:
*DETAILS CAST AND CREW
*THE FILM TITLE
*AN INTRO TO CHARACTER OR CHARACTER TYPE
*INDICATION OF PLACE
*INDICATION OF HISTORICAL PERIOD
*INFORMATION REGARDING MOOD AND TONE
*INFORMATION ABOUT GENRE
*INTRODUCTION TO SIGNATURE THEME TUNE
*QUESTIONS THAT THE VIEWR WOULD ASK (SETS UP ENIGMA)
*PATTERNS AND TYPES OF EDITING THAT WILL BE ECHOED IN THE REMAINDER OF THE FILM
*MISE EN SCENE OR CINEMATOGRAPHY THAT WILL BE ECHOED
ORDER THE TITLES ARE SHOWN IN:
*STUDIO
*DIRECTOR
*STARS IN ORDER OR REVERSE ORDER OF STATUS
*CREW
*WRITER
*PRODUCER
*DIRECTOR
*DETAILS CAST AND CREW
*THE FILM TITLE
*AN INTRO TO CHARACTER OR CHARACTER TYPE
*INDICATION OF PLACE
*INDICATION OF HISTORICAL PERIOD
*INFORMATION REGARDING MOOD AND TONE
*INFORMATION ABOUT GENRE
*INTRODUCTION TO SIGNATURE THEME TUNE
*QUESTIONS THAT THE VIEWR WOULD ASK (SETS UP ENIGMA)
*PATTERNS AND TYPES OF EDITING THAT WILL BE ECHOED IN THE REMAINDER OF THE FILM
*MISE EN SCENE OR CINEMATOGRAPHY THAT WILL BE ECHOED
ORDER THE TITLES ARE SHOWN IN:
*STUDIO
*DIRECTOR
*STARS IN ORDER OR REVERSE ORDER OF STATUS
*CREW
*WRITER
*PRODUCER
*DIRECTOR
Wednesday 2 November 2011
Continuity Piece And Evaluation
This is our group continuity piece we done as a group of 3.
In the sequence we had to use the basic instructions of filming a scene consisting of someone walking into a room by opening the door, sitting down and then having a short conversation. When shooting the sequence the techniques we were instructed to use were: match on action, shot reverse shot and 180 degree rule.
Before filming the sequence we had to draw up the story boards of what was going to happen in the scene, shot by shot to help us when filming as we could refer to the storyboards and would not forget our shots half way through filming also the story boards helped the sequence become a continuous piece.
As a group we all had separate roles. My role in the sequence was to be the person involved in the conversation. I found the role quite enjoyable although my acting skill weren't brilliant as i am not experienced at preforming however i think i did quite well considering the task was not focused on that.
next time i think i would like to have ago at being behind the camera as i have not yet had that role and think it would be challenging but a good role to partake in.
As a group we all took part in the editing of the sequence which we had to make sure we got each shot right so that the sequence would be put together and run smoothly. we cut various parts out so that it fitted the continuous criteria. we also had to re shoot a few parts of the sequence as it didn't turn out as well as we wanted.
I think we worked well as a team as we all worked together and no one sat back and did nothing we each shared contribution to the sequence. our overall sequence i think turned out quite well.
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