This is a screen grab series closely looking at what I'm trying to achieve.
Tuesday, 31 January 2012
Monday, 30 January 2012
I'm looking at the BBC One idents to get a closer idea of the way they present their logo at the end of their adverts and indents. I aim to recreate the way the BBC logo appears at the end of each ident to make it more authentic and appropriate.
Really simple ideas and actions but they all remain true to the foundation of the identity of BBC One. The idents are family friendly, pretty much all of them just have the BBC One logo at the end and nothing else but I would put that down to it being a non programme specific ident.
I want to make a simpler version of the circular shapes that appear and rotate subtly for my idents and I'm basing my story boarding around the idea that they will all end up in some form of a circle.
Friday, 20 January 2012
Tuesday, 17 January 2012
This is a bit cheesy and not the aesthetic I'm going for however it is a good example of the type of collage I want to incorporate into my title sequence. Plus it has a panda bear in the animation.
This one is closer to the design direction I'm heading in, ignoring the bits that are full motion cartoons. I like the shifts in the sequence and the use of the Chinese characters to create different platforms and scenery in the sequence.
This sequence is by a really skilled motion graphic designer Dan Flynn, He has several videos on Vimeo but this one stood out amongst the rest as its combining the two styles that I've been considering for my own sequence.
I find this sequence interesting because of the constant change of environment. As the bears that form my content are from all over the world I may experiment with different shifts of colour and surroundings to accommodate particular species. Its difficult to say whether I will definitely go along with this idea as it could look far too messy by contrast.
Very Saul Bass style title sequence, this is the simplistic feeling I'm going to begin with for my work and then develop it from there as I'd rather have a finished sequence thats simple and does the job than a complex and exciting sequence that is unfinished.
This video is a collection of 5 title sequences from various films, I'm not interested in the 2nd 3rd or 5th. The 1st one uses background textures and effects that I want to investigated further and apply to my own sequence and the 5th uses lots of quick snippets of information and facts which made me think of how I could use facts on the different species of bear in my title sequence. The film is called 'The Number 23' and its a thriller about historic events which all have some tie to the number 23 so the facts are historical and relevant to the context of the films storyline of the number being tainted and cursed. This relates back to what Kyle Cooper was talking about in his interviews for 'Forget the film. Watch the Title'
Even though this is an animation Its good to see what others have done on bears already, I like the typeface used it looks almost like a scratch in the bark of a tree.
Scratchy bear, enough said.
I've been looking at the BBC ONE idents as its the channel which ht the programme would feature on. What I've noticed is that the all play on the shape of the letter 'O' which is a perfect circle. I'm planning to create and set of these idents which are specific to the programme and carry across some of the content of the title sequence and replicate the identity of BBC ONE.
I found this print design which lead me to a great website which lots of image based design. This simplistic flat design and minimal colour scheme is something that I was looking to do with my own Title sequence, I especially like the muddied background effect, I makes it a more nature earthy aesthetic.
Tuesday, 10 January 2012
These are some title sequences to films that I find interesting.
All three spiderman sequences contain the exact same Marvel ident and Spiderman's own little sequence initiation, so there is a consistency with the aesthetic and the audience relates the experience of the first film to the sequels. Kyle Cooper mentions in his interviews how what you do in a title sequence can affect the audience and their intake of a back story just through the visuals before them, so you have to be very aware of what your communicating in order for it to work with the film. For instance, Spiderman 2 and 3 both have some form of visuals that recap the previous film(s) so the audience can recall certain points and understand the story about to unfold in greater depth
Ignoring the moving image obviously, I've been looking at idents for different channels to see what sort of things channels do to make themselves recognisable. The BBC ONE idents all in some way build up to create the shape of the O from the word ONE and it has a small motion graphic midway or near the end of the sequence.
The BBC 2 idents use the number 2 in a variety of ways to make the audience associate the number with the channel every time they see it. They are all moving image but I find them to be relevant in terms of the ideas that have been carried out and investigated.
Kyle Cooper interview parts 1 & 2
He talks a lot about typography within the sequence and the importance of it being integrated and not an after thought. He highlights visual points like the different decorative types and the relevance of them with the film and characters and also the contrast and collaboration with the type and the shapes of the objects in the sequence.
Sunday, 8 January 2012
These images were all from the same website, they're all little drawings of stems of a project of illustration that Potts continually works on.
'Chicago based film collective Scenic has launched a new film project on Kickstarter.com featuring photographers Tim Navis (LA), Kim Holtermand (Denmark), and electronic composer Deru. The group will create a series of short films at various locations throughout Iceland, inspired by moments of discovery and chance occurrence. Tim’s sun-drenched SoCal landscapes and Kim’s cold, architectural abstractions provide the visual foundation, and fans of their work can imagine how exciting a collaboration between the two will be. The end result, a beautifully packaged box set of the film and companion soundtrack, will be released to backers of the project as a physical artifact of the unique and awe-inspiring experience.'