The concept of the countdown is about the movement and interaction of people at a house party declining at the end of the night. The focus on the shoes is representation of people and their different characters and personalities representing them. The angle and frame is suppose to represent a uncommon temporary perspective that we do not really focus on. The shuffling and movement of the shoes demonstrate a kind of atmosphere of a party dying down as these decline and leave the frame. The sounds from www.freesound.org and iMovie ‘08 consist of common sounds you can usually hear at a house party tying that idea of social interaction. The idea of playing with saturation came from Jeremy Vineyard’s Setting Up Your Shots called “Colour Seep”. Starting with a high saturation with bright lively colours decreasing towards a neutral and black and white image by the number is suppose to add another layer to re-emphasize the main idea of movement and the dying down of a house party.
Probably one of the main reasons why I had such a big interest in motion graphics was the mixture of video and design to create unique and distinct approaches to concepts. Opening titles in films have always been captivating to me since it can basically convey the whole essence of a movie within those couple of minutes. Since my study in History of Design as well as my Film, TV, and Society courses i have looked more in-depth into these title sequences with great interests.
Opening title sequences are an important aspect in film and they have the ability to set the direction and mood of the film they are attached to through visuals
Psycho (1960) by Saul Bass
Carbon Copy for the 1998 Remake Original 1960 Opening
Saul Bass’ work on the Alfred Hitchcock film Psycho shows an interesting use of visual forms to draw out the emotion and mood of the film. What is unique about Bass’ concept in the opening credits is the amount of analysis and thought used to create an opening title sequence that engages the audience with these simple forms of typography and abstract shapes. These graphic forms integrate and mix with the music forming a “narrative discourse”.
From Russia with Love (1963) by Robert Brownjohn
Robert Brownjohn’s experimental approach brought a new kind of technique that engaged the audience with this famous spy film. The significance of this piece is the combination of filmed footage paired with illuminating projections of the titles. This avant-garde style by Robert Brownjohn directs the viewer’s perception in an interesting way using sensual imagery. The unique visual approach brings insight into the film and a connotative meaning to the female roles the movie. From Russia with Love opening titles demonstrates how visuals can be effectively memorable by reflecting the sensual themes of the movie.
Spider-Man (2002) by Kyle Cooper
Designer Kyle Cooper and his work on the superhero film Spider-Man demonstrates a transition of technology which has opened new possibilities in the manipulation of typography to express the environment and atmosphere of the film. It shows the successful capabilities to replicate the movement of the fictitious superhero by playing around with the typography. This visually dynamic sequence has developed a new kind of aesthetic that achieves a closer representation of the film itself. These extraordinary energetic visuals opens the audience’s view into these technological and non-conventional opening credits.
Other Acclaimed Title Sequences
Seven (1995) by Kyle Cooper
Unique manipulation and play with typography over the graphic imagery.
Catch Me If You Can (2002) by Kuntzel and Deygas
Still to this day my favorite opening title sequence. Use of simplistic imagery along with the movement and play of typography blends very well with the soundtrack.
All these title sequences and information found in the York Library from this book: “Uncredited : graphic design & opening titles in movies” by Gemma Solana
From Maryam Mahdawiyan presentation last week i was particular interested in one of her works for Fashion Television where the foreground and background of the picture were moving slightly. It is a very interesting technique and creates a unique aesthetic making a still image become more dynamic with movement. I’ve seen the technique used before and for me it gave more depth and life into the concept and idea behind each video.
For example the “Resurrection” music video by Illusive Media uses the technique to create a dramatic emotion surrounding the strategy in Haiti while the “Summer In Brooklyn” music video creates an atmosphere and mood of New York during the summer along with the lyrics of the song.
This kind of technique is something i wish to learn and use in future projects for Time-Based.
In trying to find a better angle and frame from the previous video so far I have three different angles i want to try. Problem is the framing and seeing what to crop when taking the pictures since its all edited and cropped on photoshop.
This one is a top view slightly angled, which is able to capture more shoes.
Top view (direct) problem is the tripod legs get in the way
This is a side angle, taken from my stairs. Problem here is the amount of cropping to remove the side walls of the narrow hallway.
So far I feel the top view slightly angle is the best since it is a first person perspective which is the focus of the concept, seeing a view we normally don’t look at over a period of time (during a party). Also the fact it can fit more shoes, with the other angles i feel i will have to remove a number shoes so i can make smoother transition into each number.
What was interesting about Patterns part 1 was its continuous use of cutting from shot to shot. Every shot in the film had a unique and interesting perspective moving from a full shot to an extreme close up of either the main character or an object in the house showing a specific detail or use in the story. The theme and premise of the story seem to focus on this woman waiting for the phone to ring. one of the most interest shots was from a low perspective showing the woman through the curvy shape outline created by the receiver and the rest of the phone.
Another interesting scene was the image of numbers highlighted and completely shown with a black circle. It was visually interesting since the image of the numbers used gestalt principles to reveal and make sense of the number forms revealed by the circle. Again the black circle moved in the specific rhythm of the rest of film making sharp cuts, from one number to another.
The story telling of the dream sequence was interesting since it kind broke away from its cutting from shot to shot format as the scene is introduced it displays a realistic sense of movement going down the stairs without making any quick and rhythmic cuts like in the previous scenes.
The music went the visuals very well with its use of cuts from shot to shot. The use of strings as an instrumental blended with the mysterious and unusual story.