Entry 6:

Today 3 members of our group, James, Ghanshyam & Thomas, went up to London, Southbank, to film our establishing shots of the iconic landmarks. Shooting went well, the weather was perfect and so was the lighting. We managed to film the majority of the shots on our storyboard with relative ease. Some of the shots came out blurry but we made sure that we filmed each shot at least 2/3 times.
 There was one issue with the Houses of Parliament show however. We didn't know beforehand that there was construction work on the Houses of Parliament. This meant that we couldn't get the shot we wanted to get originally and meant we had to improvise and change the shot when we got there. We weren't able to find out when this construction was due to be finished so we will have to go back at a later date and re-film the shot regardless. We managed to film in all the locations we wanted to including; the Houses of Parliament, Mi6 building and the River Thames. We also filmed our time lapse shot in Trafalgar Square with relative ease.

Entry 5:

On the 16th of February in half term our group has planned to go up to London in order to take pictures of our locations and start filming for our title sequence. We will film our establishing shots which open our sequence. The locations we will go to in order to film these are: Vauxhall Bridge (MI6 building), Houses of Parliament, Big Ben and the London Eye. There may be other places where we decide to get a shot of during the time we are there but the places stated are locations we will almost definitely visit.

Mission Impossible 4 - Title Sequence Analysis

LINK HERE:



This sequence is very fast paced and takes on the perspective of a fuse. The audience is put in a position where they are almost following the fuse and it takes them through a lot of key scenes from the film itself. The fuse itself is key iconography as it connotes explosions and danger or violence. These elements are all extremely common in spy and action films.

During the sequence there is also a car chase. Again this is typical of an action/spy film and is key iconography which is used effectively as the audience instantly recognises this and associates the film with the genre. This also helps them to know the sort of theme that the film will follow and what the action will be like throughout the film.

All of this is accompanied by a very generic soundtrack which has also become extremely recognisable with this genre. It is very dramatic which suits the fast pace.

This film is also a spy film which fits into the genre my group chose for our title sequence. The sequence shows off some of the key iconography and codes and conventions of this genre.

Entry 4:

FONT DESIGN RESEARCH & PREPARATION:

Today we begun to research into different typographies; here are some we discovered that we are all particularly fond of - all have been sourced from www.DaFont.com.

In spite of today's research, we are still continuing to look. The font choice is significant to us because it is one of the most crucial pieces of iconography within our sequence, we feel it necessary to perfect. Whilst these fonts are all good to differing degrees, they all lack the significant aspect that we are seeking, which is why we are continuing our research.

Entry 3:

LOCATION SCOUTING:

Today the rest of my group scouted out possible locations within London (our key setting) to film our remaining shots at, the largest segment to our title sequence. I intended to go too, however, was veered by issues.


Here is evidence of the location scouting:

'AGENT-X' Title Sequence - First Edit

This is the first edit for our title sequence production:

THINGS TO BLOG:

Organise title sequence designers into 'research and planning' - finish them

Write up analysis of Skyfall title sequence

Do lots more journal posts (location scouting, prop acquiring, (the wall) editing sessions, group feedback, soundtrack options pre-filming, first edit) - include any issues we faced and how we overcame them, the broken tripod the group used when they went up filming and the instability of shots. Font choice and questionaires.

RESEARCH SAUL BASS

Entry 5:

FIRST EDIT FEEDBACK: 

Today we pitched the first edit for our title sequence: we did this to gain critique from the rest of the class and, more importantly, our two media teachers. Pitching has enabled us to gain greater understanding of how to develop our sequence and how to elevate it to a higher standard ahead of the deadline for it.

James Bond: 'Skyfall' (2012) Title Sequence Analysis

SPY GENRE TITLE SEQUENCE ANALYSIS (#1)



Consistently throughout this title sequence a slow, fluid-like pace is present; this is depicted primarily through use of black fade and dissolve effects via editing. Effects such as these enable connotations of surrealism to be provoked from the audience - particularly the dissolve effects, which are conventional within films which show conformity to the fantasy genre, 'Star Wars: The Force Awakens' (2015) for instance. Additionally, the dissolve effects comprise in the creation of the fluid-like atmosphere that the sequence has too: the whole concept of fluid-ness also links directly to the idea of as spectators witnessing everything in this sequence happening from underwater.

Sound only constitutes further in the construction of the pace within this sequence; no other sound has been implemented, besides the accompanying orchestral soundtrack. Essentially, the title sequence is a music video too, however, the overlaying white title texts are what distinguish it as a title sequence. 

Implementation of visual elements such as chiaroscuro lighting in juxtaposition with ocean-blue colouring also effectively connotes this conceptual idea, furthermore, it also comprises in the depiction of the negative atmosphere pertaining to this sequence. Blue colouring primarily instigates connotations of depression and pessimism - which I personally agree with. Addition of chiaroscuro lighting in contrast with the colouring enhances this connotation. This is primarily because the colour black instigates negative connotations; death for instance. Personally, I interpret the integration of the lighting and colour within this sequence to be representative of the themes of: depth, darkness, loss and isolation: all of which link directly to the eponymous protagonist of the film, James Bond, however.

This title sequence is reflective of the horror genre

Reflective of grittiness, gore, abnormality, (mise-en-scene)

Editing effects enhance this whilst conjunctively paralleling with the use of sound.

Consistent close-ups to stabilise audience's attention

Negative connotations via mise-en-scene

Text is untidily placed, distorted,
s
strict use of colouring






TITLE SEQUENCES TO ANALYSE: (30-40 - OUTSIDE GENRE)

-SE7EN
-THE INCREDIBLES
-THE INCREDIBLE HULK
-HARRY POTTER(S)
-CATCH ME IF YOU CAN
-JAMES BOND - SKYFALL
-JAMES BOND - CASIONO ROYALE
-JAMES BOND - QUANTOM OF SOLACE
-JAMES BOND - SPECTRE

-DJANGO UNCHAINED
-SCOTT PILGRIM VS THE WORLD
-FIGHT CLUB
-JUNO
-SNATCH
-THE GIRL WITH THE DRAGON TATTOO
(IF THEY HAVE TITLE SEQUENCES)
- SHUTTER ISLAND
-DEPARTED
-CATCH ME IF YOU CAN
-BLOOD DIAMOND
-THE BIG SHORT
-HATEFUL 8
-GONE GIRL
-ARGO
-ROBOCOP
-DJANGO UNCHAINED
-HARRY POTTER

Entry 2:

DESIGNING & FILMING THE WALL:  

In our storyboard, we planned to film numerous shots of the antagonist building on his manhunt profile of the protagonist, Agent-X. In preparation for filming this, we started creating and organising the necessary props needed for the shots, for instance, the printed photos of Agent-X's associates, which we used to create the manhunt profile today. After the wall was configured, we then proceeded to filming our needed shots.


Here is evidence of our note board being configured:

Karin Fong - Title Sequence Designer Research

 

Karin Fong is a title sequence designer who was conceived and grew up in Los Angeles, she began her career after having attained an art degree. She then joined the west coast studio of R/G/A before becoming a founding member and partner at Imaginary Forces. 

Karin has created numerous title sequences for both film and television over the years, her most famous pieces being included in: 'Boardwalk Empire', (2014) 'Terminator: Salvation' , (2009) 'Charlotte's Web', (2006)and 'Rubicon' (2016). Her work has attained her five nominations and also on Emmy for title design. She has also constructed cinematics for the Sony Playstation game, 'God of War III'  and large-scale video installations for sites such as Lincoln Centre, Las Vegas, ands the LA Opera.  

Karin's work has appeared at the Cooper Hewitt National Design Museum, the Pasadena Museum of California Art, The Wexner Centre, Artists' Space and the Walker Art Centre. 

Saul Bass - Title Sequence Designer Research

Saul Bass (1920-1996)

Who was he?

• An American graphic designer who became famous for his work in film.
• He studied design at Art Students League in Manhattan.
• Born in New York on May 8th 1920.

He had a very recognisable style which consisted of simple and generic shapes. These were strategically used to convey the genre of the film.

He started his career by designing posters with his ability of being able to capture the mood of a film by using simple images and shapes.

Often, these shapes used were hand drawn by Bass in order to create a more casual appearance. This was also usually accompanied by a sophisticated soundtrack.

Throughout his career he designed over 60 title sequences with his most famous including North by Northwest, Vertigo and Psycho.

He worked alongside Alfred Hitchcock a lot in his career with a good example being Vertigo.

His title sequences revolutionised the style in which we see them these days.

Entry 1:

STORYBOARDING:

During today's media lesson - after having produced our group's audience profile and film pitch - we began the construction of a storyboard for our title sequence assignment. Our storyboard is a basic sequential illustration of what we want/predict to film as footage for our title sequence within the next few days/weeks, essentially an organised plan.

Every member in our group contributed towards the creation of it and we ended up finalising it completely later the same day, again as a full group. We found ourselves particularly discussing how we wanted to employ the micro features - mainly cinematography and mise-en-scene - within our sequence and we ultimately prioritised this the most when creating it. I found myself playing a significant part in the discussion of this due to my broader knowledge of micro features having studied Film Studies at GCSE level, unlike the other members of my group.

Our storyboard shots took heavy inspiration from other relevant film texts within our focused genre, texts such as 'James Bond: Skyfall' (2012) for instance. We took inspiration from how effectively it used settings as iconography to communicate its genre, specifically the establishing-shots of iconic British landmarks within the disruption stage of the film, shots like where the M16 building is seen exploding through pyro-techniques.

Audience Profile

AUDIENCE PROFILE RESEARCH:

This is the audience profile I designed for my group's film production 'AGENT-X' (2016).
I designed this through use of Photoshop CS6 on my PC.

Journal

Here I will be recording all contributions me and my group make towards producing our 'AGENT-X' title sequence and how we overcome any issues/obstacles in the process:

Class Notes

TUESDAY 19TH JANUARY:

Genre and how it is defined through N.I.C.S (Narrative, Iconography, Characters and Setting)


ANALYSING GENRE WITHIN TEXTS:

Genre

N.I.C.S- Use to define genre
N- Narrative
I- Iconography (Visual elements which establish the genre)
C- Characters
S- Setting

Analysing genre:

Dr.No 
Action/spy film- silhouettes, gun barrel (iconography which establishes the genre). Features Sean Connery-most known for James Bond.


Splice
Sci-fi film, green colour scheme, consistent colour scheme throughout which gives off a skin/ alien effect on the audience.


The back up plan
Chick flick- bright colours. Hybrid: Romantic-Comedy (Rom-Com). Romance iconography- babies on TV. Comedy iconography- Flasher. This film is clearly targeted towards a female audience- elegant typography, animation, colour scheme.


This means war 
Rom-Com: references spy film. Uses intertextuality to reference a James Bond film.

Title Sequence Research

HISTORY AND PROGRESSION:

Prior to the invention of the cinematograph - a motion picture film camera and projector - in the 1890s, simple title cards were used instead to both begin and conclude silent film presentations to establish to an audience a film's title and the production company(s) involved in the practices of producing and distributing it. In silent cinema, title cards/intertiles were utilised throughout films' narratives to convey dialogue and plot, and it is in some of these early short films that we can see the first initial examples of title sequences themselves, being literally a sequential series of title cards shown at the beginning of a film. With arrival of sound, title sequences became usually accompanied with a musical prelude or overture. Contemporary title sequences have developed this technical convention and now typically establish leitmotif soundtracks within them.

Slowly, as time has progressed, title sequences have evolved and become more elaborate pieces of film within contemporary cinema. Title design saw a pivotal moment of development particularly during the 1950s consequential to the advent of television - which instigated a decline within the film industry - as it forced the 'big six' Hollywood conglomerates (Warner Bro Pictures, 20th Century Fox, Paramount Pictures, Walt Disney Studios, Columbia Pictures and Universal Studios) to all invest in new methods of making cinema more appealing again in attempt to rejuvenate it and recover a diminishing/dwindling audience.


PURPOSE BEHIND TITLE SEQUENCES:

• To commend the primary contributions made in the development process of a film production - conventionally done through editing and applying on-screen text.
• To further endorse actors'/actresses' star power and help develop their filmographies.
• To acquaint audiences instantly with the genre/hybrid-genre of a production - typically through simplistic use of iconography and mise-en-scene.
• To establish the relevant key themes, messages and values of a production's narrative.
• To immediately make attempt at engaging/immersing audience (pre-equilibrium) before the pace of the narrative begins to pick up - commonly done through strongly appealing aesthetics.