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Wednesday, September 17, 2008

Filed under: Editing

Creative Titling Inspiration

Matt Jeppsen | 09/17

Drawing creative inspiration from film title sequences

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Titles are one of those areas in editing that at times can seem like an afterthought. With all the time and budget constraints in today’s demanding editing schedules, titling often takes a back seat. But when creative editors have the time and budget to devote to it, a strong opening title sequence has the potential to be a story within a story, setting the tone and pace for the film or production to follow. One only need watch the splendid intro of “Catch Me If You Can” to be reminded of this. Read on for some practical examples of innovative title sequences, and a few resources to draw inspiration from in your own editing projects.

One site devoted to highlighting these titling gems is artofthetitle.com. They regularly post film title intro examples along with trivia and commentary. Some of my favorites there include the aforementioned Catch Me If You Can, Thank You For Smoking, and Stranger Than Fiction. There’s even a few of the classics in there, like the intro to 1968’s Bullitt.” Some haven’t aged as well however, like the titles for Panic Room which, while probably innovative at the time, now just feel overly gratuitous.

Another great site for exploring creative title sequences is movie-titles.tv. They spare the commentary and analysis, and go straight to the title sequences. Finally, PVC’s own Trish and Chris Meyer recently posted a few links to font resources. So the next time you are at a creative titling impasse in the edit suite, check out these links for a fresh injection of ideas and inspiration.


(Links via Knut Helgeland and Jonas Hummelstrand)

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The Editing of “Courageous” Part One

Steve Hullfish | 10/14

The off-line edit of a RED feature film

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Last October, I had the rare opportunity to edit a feature film called “Courageous,” which is in theaters now. “Courageous” was the number one new movie the weekend it opened (September…

Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switch

Scott Simmons | 02/07

If you haven’t heard they have moved from FCP7 to Media Composer

Back in January news broke that reality television producers Bunim/Murray were switching their post-production facilities from Final Cut Pro to Avid Media Composer. This probably didn’t come as a great shock to anyone who follows post-production as the release of Final Cut Pro X had left many people (especially those…

Kicking the tires on the Final Cut Pro X 10.0.3 Multicam update

Scott Simmons | 02/05

The ease of setup and managing multicam clips makes this the best FCPX update yet

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As we all know by now Apple released their promised update to Final Cut Pro X that added multicam. It’s only been a week and there’s already a lot of articles and tutorials about how…


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The title sequence for a fictional work cannot be undervalued any longer. It *can* set the mood, pace and even offer exposition so that the viewer feels as if they are already in the movie when the “real” movie begins. Spiderman2 was a great example of this.

Now we have the trend of the outgoing credits receiving their own treatment. What’s the purpose of this? No, it’s not just for the mograph geeks like me…alone…they also allow for real benefits. Some in the audience are able to get the needed “return to homeostasis” where they can sit and think about what they just experienced It also allows the filmmaker to pull them a little deeper into the universe they were just introduced to.

Yes, the title sequence can be a beautiful thing (I personally will purchase movies simply for the title sequences and ignore the rest of the “content”). It also has a very real impact on the viewers experience with the overall story.

Posted by gl  on  09/17  at  06:52 PM


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The Editing of “Courageous” Part One

Steve Hullfish | 10/14

The off-line edit of a RED feature film

image

Last October, I had the rare opportunity to edit a feature film called “Courageous,” which is in theaters now. “Courageous” was the number one new movie the weekend it opened (September…

Q and A with Bunim/Murray’s Mark Raudonis about their recent Avid switch

Scott Simmons | 02/07

If you haven’t heard they have moved from FCP7 to Media Composer

Back in January news broke that reality television producers Bunim/Murray were switching their post-production facilities from Final Cut Pro to Avid Media Composer. This probably didn’t come as a great shock to anyone who follows post-production as the release of Final Cut Pro X had left many people (especially those…

Kicking the tires on the Final Cut Pro X 10.0.3 Multicam update

Scott Simmons | 02/05

The ease of setup and managing multicam clips makes this the best FCPX update yet

image

As we all know by now Apple released their promised update to Final Cut Pro X that added multicam. It’s only been a week and there’s already a lot of articles and tutorials about how…

Revisiting the RED workflow, Smoke 2012 style

Marc-Andre Ferguson | 02/03

image

My love affair with RED Digital Cinema began in 2007, when my brief stint as demo artist in the NAB RED booth turned into a regular gig at events and trade shows.…

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