WINNER: APDG (Australian Production Design Guild) for Best Title Sequence
Australian Effects and Animation Festival (Sydney, Australia): Nominated Best Title Sequence, Best Short

West Chester Film Festival (West Chester, USA) • Sydney Film Festival 2012 (Australia) • Shanghai International Film Festival (Shanghai, China) • Roswell International Sci-Fi Film Festival (Roswell, USA) • Hollyshorts (Los Angeles, USA) • St Kilda Film Festival (Melbourne, Australia) / Winner Best Achievement in Production Design • BOFA Film Festival (Launceston, Australia)

When a journey to another planet goes horribly wrong mid-flight, the few remaining survivors scramble to secure the cryogenic pods during a catastrophic system failure, and an ordinary female Engineer finds herself fighting to ensure the future of mankind.

Cryo opens in triage, and the opening title cards were designed to reflect this by visually representing system malfunctions. The glitch-ridden, sci-fi style is carried through to video diary expositions (which feature as part of the titles, introductory sequence, and epilogue), as well as the end cards and entire animated end roller.

In visually representing this systematic degradation, the titles not only reflect the damage sustained by the ship and equipment, but illustrate the fractured relationships of the crew - twisted, buckled and malfunctioning under extreme and sustained pressure. Noise, interference, and computer glitch effects were art directed and timed to create a sense of unease in the audience, leading up to the disclosure of the ship's dire situation - with the majority of glitch effects created manually, or, when plugins were used, keyframed heavily to achieve the desired result.

Interspersed throughout the titles, the video diary sequences emphasise and graphically echo the mental state of the film's heroine. These sequences, including titles and roller, are intercut with actual NASA imagery: disturbing flashes of meteors, strange moons, and the unfamiliar silhouettes of forbidding planets, which serve to underscore the idea that we are in an unfamiliar and hostile space.

The end credits continue the theme of fracture, with data readouts in the roller rewriting themselves to spell out credit categories. By fully animating the end roller, the audience is kept within the world of the film until the very last moment.

Bluetongue Films ( • Druid Films (
Director: Luke Doolan
Producer: Drew Bailey
Writer: Mathew Dabner
Original Music: Frank Tetaz
Editor: Christine Cheung
Colourist: Trish Cahill
Titles and Credits: Scott Geersen (
For full credits please see

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