1. Paul donnellon pitched a 60's Film title sequence based on Spaghetti westerns to the Movie's director Joe carnahan.

    Working Title Films and Universal Pictures gave us access to all the still photographs so it meant we could get shots that were from different angles to the movie itself. By finding sequential photographs we could also animate these by turning them into the film title sequence.

    Using adobe After Effects we constructed our images and split them onto layers so we could put in our own camera movement and depth of field. The film title sequence harks back to "Butch Cassidy and the Sundance Kid" or those 1960's movies.

    To get the rostrum type hand made feel we filmed ink textures using a Canon D5 stills camera and used a Saphire plug in to get the scratches on the film.

    # vimeo.com/32208894 Uploaded 2,326 Plays 0 Comments
  2. The team at Evolution Studios approached VooDooDog to design and create a full on Hollywood block buster movie title sequence for their Sony PSP Game Motorstorm Apocalypse. At Evolution the creatives saw VooDooDog's Smokin Aces film title sequence and wanted a similar aesthetic for their game credit sequence. They also wanted three character intro sequences to introduce the main characters of the game, The Survivor, The Veteran and The Rookie.

    The music was composed by Klaus Badelt the composer of Pirates of the Caribbean.

    The sequence was also featured in Edge magazine, with particular note to typography.

    paulvoodoodog.tumblr.com/post/11276028838/article-on-the-motorstorm-apocalypse-title

    Flickr - flickr.com/photos/voodoodog/sets/72157632005326369/with/8184591430/

    # vimeo.com/32631123 Uploaded 802 Plays 0 Comments
  3. Paul Donnellon interviewed by Watch the Titles.

    Donnellon: "The film is set in the early 1900s in Colombia, South America, therefore I felt the sequence should not feel too digital so we created the hand-painted oil painting feel in the rendering. The idea was to give the audience a feeling of the colors and atmosphere of South America. The animation was approached so each frame of the beautifully rendered flowers had to move in a different way, rather than some mechanical animation."

    "We put a lot of effort into the line test stage, studying time-lapse flowers footage and getting the twisting feeling of the tendrils and flowers opening before commiting to the hand painting stage. I am sure no one other than fussy designers notice, but we think it was worth the effort rather than just making a straight computerised sequence."

    “We had thought of creating some depth of field effects onto the final layers, but when we tried this it took away from the feeling that this was a flat canvas being painted on, so we scaled back."

    "The final piece runs for just thirty seconds and seems simple, but a lot of care went into making it. For the end piece we created still images from our paintings, so this book ends the movie."

    Title Director: Paul Donnellon
    Producer: David Z.Obadiah, Noel Donnellon
    Design: Andrew White, Paul Donnellon
    Animation: Harriet Gillian, Paul Donnellon, Maki Yoshikura, Petria Whelan, Michelle Salamon
    Compositing: Andrew White

    watchthetitles.com/articles/0023-Love_in_the_Time_of_Cholera

    # vimeo.com/32578242 Uploaded 1,360 Plays 0 Comments
  4. Working with Joe Carnahan for the second time, VooDooDog created the opening titles, in-film graphics, character cards and subtitles for The A-Team. The sequence shown here was not used in the film due to running time issues, but sparked the solution for the end credit sequence.

    The sequence was also picked up by New York Times writer Alice Rawsthorn, who wrote a piece on the lack of a titles award in the Oscars.

    nytimes.com/2011/02/21/arts/21iht-design21.html

    # vimeo.com/32087740 Uploaded 204 Plays 0 Comments
  5. The Flutter film title sequence uses 1950s retro imagery based on Hollywood movie posters from that era. The music track has a pastiche of rock and roll fitting the timeless feel of the movie. The animation had a UPA type staccato feel to its movement and the whole piece is lo- fi and not too shiny and slick. We wanted to keep it looking as if it had been filmed on an old rostrum camera so its doesnt look too Digital. The final title sequence has a charm of its own. Also the shifting colour hue from red to blue keeps it edgy and progressive.

    # vimeo.com/32095707 Uploaded 491 Plays 0 Comments

Title Sequences

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