Opening titles for Jason Reitman’s Up In The Air by Shadowplay Studio. Apple has a behind-the-scenes featurette on the making of the sequence. (via Tim Van Damme)
LipSync Post’s animated opening titles for Dean Spanley remind me of Jamie Caliri’s superb end credits for Lemony Snicket’s A Series of Unfortunate Events. Caliri recently beat out one of my other favourite credits sequences to win the Outstanding Main Title Design Emmy for his work on The United States of Tara. (via The Art of the Title Sequence)
H&FJ designer Brian Hennings on Tungsten in motion graphics:
What I wanted to try with Tungsten most of all were motion graphics: specifically, animated movie titles. We all agreed that the font just demands to be used for the opening credits of a Hollywood blockbuster, though we never did agree on the genre. A spy thriller seems like a natural, or anything with a criminal theme for that matter: is Tungsten the hard-boiled detective in a shearling coat, the English dandy with a walking stick and a vintage convertible, or the small-town judge who delivers a very personal style of justice? It could certainly be a straight-faced stoner comedy, a slasher film, or anything from the sci-fi realm. Next summer I expect to see Tungsten on the side of a battleship, a Formula One race car, or a star destroyer. Or in the opening credits of that new crypto thriller TUN65T3N. Starts Friday, theaters everywhere. This font is not yet rated.
From idsgn’s brief visual history of film titles: the 1960s.
Another favourite title sequence of mine is the opening credits for Andrew Niccol’s Gattaca (1997), designed by Michael Riley for Imaginary Forces. Other than Illustrator and Fontographer for editing and setting type, no other digital process was used in the sequence. I like the subtle touch of mixing sans-serif characters with the mainly serif titles: Riley says his team created a custom typeface for the end crawl that contained the G, T, C and A glyphs from Avenir and the remaining character set from Mrs Eaves — those four particular letters represent the four DNA bases, and were used to form the fictitious placename of the film’s title.
Yves Peters writing in the FontFeed:
Without a doubt one of the most beautiful title sequences ever, the intricate and sophisticated piece is a perfect marriage of art direction and design, motion graphics, music and typography.
The typography is by Scott Sorenson and Matt Manes, using John Downer’s Vendetta and H&FJ’s Gotham. Forget the Film, Watch the Titles has more background from the sequence’s director, Jamie Caliri, and Art of the Title Sequence has the full sequence in HD.
Barcelona-based Dvein created these titles for the F5 festival in NYC on April 16 and 17, 2009. Each of the presenters was asked for a list of objects that inspired them, and the results became a starting point for the visuals. (via Motionographer)
There’s an Oscar for pretty much every aspect of filmmaking, except one: the title sequences.
— Emily Oberman and Bonnie Siegler of design agency Number Seventeen NYC pick their nominees for Best Achievement in Film Title Design. (via Khoi Vinh)
From Nathaniel Howe’s titles for the remake of British television classic The Prisoner, for AMC and Buster. (via Motionographer)
