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.
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.
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.
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
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 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.
