This is my final title sequence idea for the Craft Development Project. Descriptions of how I created the moodboard and shot the footage are in the previous post.
Monday, 2 May 2011
Thursday, 28 April 2011
Wire In The Blood Title Sequence
I have recently been looking back at the title sequence for Wire In The Blood, the drama was similar to Fracture and the title sequence intrigued me with it's organic flame textures and wipes. It is what initially gave me the idea for my title sequence and the style I wanted to try with my rorschach ink blots effects.
Final title sequence
To create my final test title sequence for Fracture, I decided to add to the mood board. During production development, actors have changed roles and new actors have been drafted in to replace roles. This means that the mood board and titles have had to change drastically.
I decided on a much more dramatic lighting style, having the mood board on a table rather than on a wall, Richard helped out with filming and lit the scene with dedolights and CTB gels to give a night blue tint. I then cut some cardboard and placed it in front of the lights to create the effect of blinds in a detective's office.
I added the tarot cards, e fits, new character photographs, Rorschach test pictures and hand written notes to the mood board to make it look more authentic.
The footage was a little bit shaky as the camera had to be held over the mood board and shot by hand. I roamed around the mood board while filming, starting at the centre and working my way round capturing every photograph, note etc. In editing I will keep to quick cuts of each part of the mood board with very short pans left and right to add extra movement to the sequence.
As for the titles themselves, as the scene is darker this time and harshly lit to represent night, I may need to re think the black text I used in the previous test sequence and go for a brighter text style, perhaps adding a glow to make them stand out from the dark scene. I am still however very keen to use rorschach test style ink blot effects interspersed with the text and a typewriter style. I am also interested to test out text overlays showing case notes etc highlighting the type of case the detective is investigating. I shall be editing together the sequence over the next few days, looking into music to use to set the tone.
We have yet to get full permission to use imonster in our title sequence and the composer Richard has given a rough cut to will more than likely get us a score in time for the gala but not in time for hand in date. I have spoken to my friend and live action editor of Fracture, Kiara, who is in contact with a guy who is composing music for her feature film and is happy to give us permission to use some of his music. She has already gave us sample tracks to use for the hand in date and i will more than likely use these tracks for my titles tests.
I decided on a much more dramatic lighting style, having the mood board on a table rather than on a wall, Richard helped out with filming and lit the scene with dedolights and CTB gels to give a night blue tint. I then cut some cardboard and placed it in front of the lights to create the effect of blinds in a detective's office.
I added the tarot cards, e fits, new character photographs, Rorschach test pictures and hand written notes to the mood board to make it look more authentic.
The footage was a little bit shaky as the camera had to be held over the mood board and shot by hand. I roamed around the mood board while filming, starting at the centre and working my way round capturing every photograph, note etc. In editing I will keep to quick cuts of each part of the mood board with very short pans left and right to add extra movement to the sequence.
As for the titles themselves, as the scene is darker this time and harshly lit to represent night, I may need to re think the black text I used in the previous test sequence and go for a brighter text style, perhaps adding a glow to make them stand out from the dark scene. I am still however very keen to use rorschach test style ink blot effects interspersed with the text and a typewriter style. I am also interested to test out text overlays showing case notes etc highlighting the type of case the detective is investigating. I shall be editing together the sequence over the next few days, looking into music to use to set the tone.
We have yet to get full permission to use imonster in our title sequence and the composer Richard has given a rough cut to will more than likely get us a score in time for the gala but not in time for hand in date. I have spoken to my friend and live action editor of Fracture, Kiara, who is in contact with a guy who is composing music for her feature film and is happy to give us permission to use some of his music. She has already gave us sample tracks to use for the hand in date and i will more than likely use these tracks for my titles tests.
Tuesday, 25 January 2011
Title sequence, first draft
This is the title sequence I put together as a test with the footage I uploaded over the weekend. I thought the footage would be useless with the camera shake, but when I cut up the sequence into small clips, it ran smoother.
I've also added a very basic edit of the two tracks which our line producer Kiara Michelini has got permission for us to use, from imonster, 'Heaven' and 'Who is She?'
the title effects were from some ink blot tests we did against green screen mixed with some animated masks and fades on After Effects.
The piece is far from finished. The moodboard needs a lot of work, swapping the print outs for colour photographs, adding the tarot cards etc as well as solving the camera shake problem and filming when we have more room to manouvre. However, looking at this test I can see that my ideas are taking shape are going in the direction I want them to. More tests to come!
In the meantime, I am going to look into the origins of the title sequence to hopefully further my knowledge of title design.
Monday, 24 January 2011
Raw Title Sequence Test Footage
We attempted to create a mockup of the police moodboard we may use for our title sequence. A fig rig was used, however, the footage was very shaky, as there were no controls at the side of the fig rig to focus pull.
To add to that, we missed filming on Thursday due to a crew member not being available and had to film on Friday instead. Rob had a lecture on during filming and so we had to film behind a curtain ands so didn't have much room for movement.
Our next attempt should be more fluid, include a better moodboard and we should have all the equipment and space we need to work. I'll attempt to stabilize this footage and add titles.
Here is the Raw footage below before any editing takes place:
Wednesday, 19 January 2011
moodboard images
Here are some of the images I doctored and found on google for the police moodboard title sequence test shoot:
Tuesday, 18 January 2011
More Organic Titles
Over the Christmas and New Year I have been debating what kind of objects to use or what scene to set up for my title sequence. Obviously, it's a psychological crime thriller so I believe the imagery of the genre such as a mood board, surveillence photos, psychological notes etc should be prominent.
I first thought it would look good to have a camera walk through a detective's office door and head towards a table, panning down and over it so it fills the screen. I later thought as the title sequence can only be up to a minute maximum, I'd probably have to cut out the door shot and shoot straight from the desk, firstly to save time for cast names to appear, but also because it's very important I set the scene for the film in that short space of time during the titles.
I very much liked the style of 'The Walking Dead' title sequence where the camera always appears to be moving in a certain direction, but the scenes change to reveal props, photos of characters etc which tell a story. I want to make sure I achieve that with my title sequence, keeping the dissolving ink titles, but incorporating the movement and props.
An idea came to me when I saw the title sequence for 'Red Riding', http://www.youtube.com/watch?v=YL3qypfj8DY&feature=fvsr a very quick intro involving a mooodboard, it got everything across to me in one clean shot. It made me want to drop the idea of using a desk at all and rather have a large mood board on the wall, to focus in on different points telling the story then zooming out to reveal the full thing. The moodboard could include any of the props I described earlier and not look as out of place as perhaps the desk shot might have been. It can be a real tangled web to weave through and almost signifies the narrative of the film itself with it's twists and turns.
I have organised to shoot some test footage on Thursday with a few of the film crew, using a Canon 5D and testing my co producer Richard's Fig Rig. It should give crisp, clear images with a smooth ease of movement to capture or scan all the details in fluid movements. I will also develop and post on the blog a storyboard of how I want all this to look which will be very useful when we come to shoot.
We have firmly decided who to cast now and a final draft of the script has been sent to the actors, so not only can the production finally get off the ground, but the title sequence can be finalised. I am looking for photos of cast members etc to use in the moodboard, so the actors will come in great use now they've been selected.
The production composer, Josh also needed a copy of the final script so he could get a feel of how the music should be for the film. Now he has the script, it won't be long before I can take the track and incorporate it into the titles. I think these next few months will certainly be the most productive for the piece now we finally have access to the vital components needed.
I first thought it would look good to have a camera walk through a detective's office door and head towards a table, panning down and over it so it fills the screen. I later thought as the title sequence can only be up to a minute maximum, I'd probably have to cut out the door shot and shoot straight from the desk, firstly to save time for cast names to appear, but also because it's very important I set the scene for the film in that short space of time during the titles.
I very much liked the style of 'The Walking Dead' title sequence where the camera always appears to be moving in a certain direction, but the scenes change to reveal props, photos of characters etc which tell a story. I want to make sure I achieve that with my title sequence, keeping the dissolving ink titles, but incorporating the movement and props.
An idea came to me when I saw the title sequence for 'Red Riding', http://www.youtube.com/watch?v=YL3qypfj8DY&feature=fvsr a very quick intro involving a mooodboard, it got everything across to me in one clean shot. It made me want to drop the idea of using a desk at all and rather have a large mood board on the wall, to focus in on different points telling the story then zooming out to reveal the full thing. The moodboard could include any of the props I described earlier and not look as out of place as perhaps the desk shot might have been. It can be a real tangled web to weave through and almost signifies the narrative of the film itself with it's twists and turns.
I have organised to shoot some test footage on Thursday with a few of the film crew, using a Canon 5D and testing my co producer Richard's Fig Rig. It should give crisp, clear images with a smooth ease of movement to capture or scan all the details in fluid movements. I will also develop and post on the blog a storyboard of how I want all this to look which will be very useful when we come to shoot.
We have firmly decided who to cast now and a final draft of the script has been sent to the actors, so not only can the production finally get off the ground, but the title sequence can be finalised. I am looking for photos of cast members etc to use in the moodboard, so the actors will come in great use now they've been selected.
The production composer, Josh also needed a copy of the final script so he could get a feel of how the music should be for the film. Now he has the script, it won't be long before I can take the track and incorporate it into the titles. I think these next few months will certainly be the most productive for the piece now we finally have access to the vital components needed.
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