Title Sequences by Mark Petch

CATCH ME IF YOU CAN

petch_mark — 2014-08-04 04:53:03 UTC

This is an award winning title sequence using simple graphics to a very high standard. The secret of it is FLOW. The images are not constrained to a "box " or "frame". They flow freely, constantly changing and the camera has to run to keep up. This directly reflects the theme of the film.

FLASH GORDON

petch_mark — 2014-08-04 04:58:31 UTC

This one is quite primitive by modern standards using 3-4 layers. What makes it interesting is the voiceover at the start which builds the "prequel" storyline before going to the main theme and more traditional comic graphics.

PHONE BOOTH

petch_mark — 2014-08-04 04:59:36 UTC

This title sequence uses very simple graphics but gets your attention because it plays with depth and perspective when many similar title sequences don't think about depth. The whole thing works by creating the illusion of a zooming camera simply by stretching and shrinking the text. as usual, try counting the layers.

ANATOMY OF A MURDER

petch_mark — 2014-08-04 05:00:26 UTC

This title was considered radical in its day. It is simple yet it works. The idea of cut out limbs to make a 2D puppet move is something you can definitely use in your work.

INCEPTION

petch_mark — 2014-08-04 05:18:07 UTC

The dominant techniques used here are silhouettes and blocks of color and simple pan, scan and zoom motions. Take note of the pacing. It is slow and timed to the music.

IRON MAN

petch_mark — 2014-08-04 05:19:11 UTC

This title sequence uses a mix of old school graphics techniques including PAN & SCAN and ZOOM. You can see that multiple layers are used. If you look very carefully you will see that 6- layers are used so that the background images can move against each other creating some 3D illusions.

THE ROAD

petch_mark — 2014-08-04 05:20:24 UTC

The Road introduces music first to suggest an atmosphere before relying on simple pan and scan technique across carefully select images. Text is layered on top and a fade up/ fade out technique used to suggest atmosphere. to add interest, live video sequences are intercut with still images .

SPIDERMAN 2

petch_mark — 2014-08-04 05:21:53 UTC

This title sequence takes the lines of a spiders web and reuses them as the dividers that we see in a comic book. Images are often broken up into slices and moved around. The "camera" remains static throughout with graphic components traveling across the screen , often diagonally. Color blocks are used as backgrounds for text to make it easier to read. Organizing things onto layers allows all the components to slide around independently.

BANCHEE

petch_mark — 2014-08-04 06:57:56 UTC

This is an excellent title sequence but unfortunately the hot link isn't as friendly. There is a lot in it that you can use directly in your work.

http://youtu.be/VGWEiNNGR3Y

Watch it carefully. You will see that its a mix of short animations and static sequences with the illusion of movement created by panning and zooming. note how the music interacts with the images and take in little details like the movement in the text, the fake blur effects and the nice blink at the end

THE WALKING DEAD

petch_mark — 2014-08-04 07:05:55 UTC

Hot link problems so try this link http://www.youtube.com/watch?v=phLVlvMKVi8

This title sequence is a great example of what you can do with hand drawn graphics distributed over several layers. The illusion of a 3D environment and and of a swooping and zooming camera are made possible by this extensive use of layers. Notice that very few colors are used.

How Title Sequences Grew Up

petch_mark — 2020-04-28 05:48:15 UTC

This video looks at some popular title sequences and introduces you to the people who make them for a living

Best TV Opening title Sequences

petch_mark — 2020-04-28 05:50:05 UTC

Watch these sequences and consider what ideas you might be able to take away and use in your own work.

The Stranger Things Title Sequence

petch_mark — 2020-04-28 05:52:52 UTC

Meet the people who put this sequence together. consider closely the role played by animated fonts