Index
Note: Page numbers followed by b indicates boxes, f indicates figures and t indicates tables.
3:2 pull-down, 38
A
ABC Movie of the Week title design, 55
Absorption, sound, 269
Achromatic color harmony, 124
Action edits, 252
Adobe. see After Effects; Flash; Illustrator; Photoshop
Aerial camera movement, 243
After Effects, 56
alpha channels, 203b
audio file formats supported, 271
audio integration with, 271–274
camera creation, 216
Cinema 4D plug-in for, 327–329
composition creation, 210f, 219
Composition Cropped Layers document, 160f
continuous rasterization, 156
default camera, 215
depth of field, 234
dolly camera movement, 245–246
exposure settings, 230
expressions, 278
framing angle, 240
f-stop value range, 230
handheld camera movement, 246
image size determination, 239
importing files into, 191
layer parenting, 278
light additions in, 140
moving type animation to Flash, 98–99
nondestructive effects, 156b
pan camera movement, 245
pedestal camera movement, 246
preset creation, 169
rack focus camera movement, 246
rulers and guides, 82b
Shape layer function, 161b, 161f, 162f, 163f
shutter angle and motion-blur options, 235–237
Steadycam camera movement, 246
stopwatches, 295b
tilt camera movement, 245
title card-based title sequences with, 200
as type animation tool, 95
for Web-based content, 94
zoom camera movement, 245
After Effects tools/options
3D layer icon, 217f
Alpha Channel option, 347f
Animate option, 197f, 198b, 201f
Audio Output option, 274
Bevel Alpha option, 212f
Blur Length option, 330f
Blur option, 311f
Camera Settings window, 230, 230f, 231, 232f, 234
Canvas Size option, 166b, 167f
CC Burn effect, 166f, 169f, 333f
CC Light Rays effect, 280f, 281f
CC Radial Wipe effect, 316f, 317f
CC Vector Blur effect, 342f
Character Panel, 197f
Collapse Transformations option, 158b
Composition Settings, 167–168, 221
Constrain Proportions option, 166f
Continuous Rasterize option, 323
Convert to Audio Keyframes option, 280f
Ctrl-D (Command-D), 202f, 300f, 304f
Ctrl-M (Command-M), 207f
Difference blend mode, 334f
Directional Blur option, 339f
Echo option, 337f
Effects & Presets menu, 209f
Extrude NURBS option, 346f
Focal Length parameter, 231, 232
Glow option, 336f
Gradient editor, 204f
Keyframe Interpolation option, 213f
Light option, 298f
Mask Expansion option, 294f, 306f, 307f
Mask Feather option, 295b, 295f, 302f, 303f, 307f
Mask Opacity option, 306f, 307f
Mask Shape tool, 294f
Motion Blur option, 205f, 235, 309f, 311f, 328f, 339f
Move tool, 346f
Multiply blend mode, 333f
Null Object option, 344f
Opacity blend mode, 335f
Opacity option, 290f, 291f, 292f, 293f, 337f
Orbit Camera tool, 241
Output Module Settings, 274, 274f, 359f
Paragraph panel, 296f, 299f, 332f
Per Character 3D option, 310f
Photoshop Sequence option, 341f
Point of Interest controls, 298f, 299f
Pre-Compose, 158b, 158f, 317f, 318f
Property option, 308f
Radial Blur option, 301f
Raining Character In option, 338f
Range Selectors, 201b, 202f, 308f
Reduce Interlace Flicker option, 325f
Reload Footage option, 171, 195f
Render Queue panel, 236
Render Settings tool, 346f
Resample Image option, 166
Reverb option, 277f
Reverse Transition, 316f
Scale tool, 169f, 170f, 199f, 201f, 300f, 306f
Selection tool, 302f
Skew option, 329f
Smudge tool, 340f
Stencil Alpha, 157b
Stereo Mixer option, 277f, 278f
Straight Alpha option, 347f
Text tool, 331f
Time Remap feature, 224, 226f, 314f, 342f
Time Reverse Keyframes, 318f
Tracking option, 296f
Transparency Grid, 203f
Wiggler panel, 334f
Workspace for Text option, 196b
After Effects tutorials
adding animated illustrative elements, 161b
adding music and sound effects, 277b
animated title cards, 196b
animating layer styles, 159–161
Dawn of the Dead blood-splatter type, 339–340
end scroll animation, 323b
exploding type, 309b
fading up and down, basic move, 290
fading up and down by character, 292b
falling into place, 307
horror-jittery type, 333
in-scene title wipes, 304b
large blocks of type, 207b
Lost-style 3D title, 342
lower third title creation, 203b
Matrix raining characters, 338
painterly effects, 319b
painting/writing text on screen, 315b
preset creation, 169b
resizing movie poster logo, 166b
shaped fade up and fade down, 294b
Sopranos-style wipe, 327
Spiderman-style full-3D text animation, 344–345
spotlight reveals, 297b
Star Wars backward crawl, 331
Stencil Alpha, 157b
stop-motion titles, 312b
Superman-style explosive type, 335
suspense-style glowing back light, 329
synching sound with type, 279b
text bounce, 299b
ticker creation, 210b
title card-based title sequence, 200b
title sequence with virtual camera, 256–259
title wipes, 302b
tracking animation, 295b
“whoosh” creation, 275b
write-on effect with font, 317b
zoom-in effect, 306
Afterimages, 129b
Alberti, Leon Battista, 115
Alpha Channel option (After Effects), 347f
Alpha channels, 203b
The Alphabet Conspiracy
background, 101
case study, 99b
cues, 101
custom typefaces, 102
defined, 101
Alphabetic writing system, 73
Alternating title cards and footage, 13
Ambient lights, 141
Amplitude, 269
decibels, 269
defined, 269
see also sound
Analogous color harmony, 125, 125f
Anchor Point animation, 332f
Animated title cards, 196b
completed, 199f
composition length setting, 196f
type animation, 198f
type appearance, 197f
Animatics
defined, 30
as pre-production step, 6
presentation, 6
Animation-based title sequences, 16
Animators
defined, 291
Opacity, 292
Apple Final Cut Pro
Apple Motion
2D mode, 216
3D mode, 216
Angle of View parameter, 233f
camera creation, 216
default camera, 215
dolly camera movement, 245–246
focus, 228
image size determination, 239
light properties, 146
light types, 144
Optical Flow option, 226f
pan camera movement, 245
pedestal camera movement, 246
project creation, 219
rack focus camera movement, 246
Rotation values, changing, 240, 242
software setup, 254
Steadycam camera movement, 246
tilt camera movement, 245
Timing option, 225f
Variable Speed Time Remap feature, 226f
zoom camera movement, 245
Aspect ratios
defined, 218
film cameras, 218
in film/video workflows, 35–36
mobile devices, 88t
Assets
creating and animating, as production step, 7
frame size, 33
Audacity
adding sound effect in, 275b
defined, 275
Fade In/Fade Out options, 276f
High Pass Filter option, 276f
Phaser option, 276f
White Noise option, 275f
Audio Amplitude layer, 280f
Audio files
formats supported, 271
imported, 272
working with, 271
Audio integration (After Effects), 271–274
Audio Output option (After Effects), 274
B
Background lights, 138
Balloon lights, 136
Baseline, 77
background, 49
graphic design education, 49
North by Northwest, 50
title sequences, 49
Bed, 358f
The Better Angels (Chen)
creative justification, 364–365
description, 364
illustrated title sequence, 365f, 366f
software and techniques, 365
synopsis of movie, 364
see also Title sequences by Ex’pression graduates
The Better Angels (McLeod)
creative description/treatment, 368
illustrated title sequence, 368f, 369f
software and techniques, 368–369
synopsis of movie, 368
see also Title sequences by Ex’pression graduates
Bevel and Emboss layer style
complexity, 154
defined, 148
illustrated, 153f
Stroke layer and, 153b
Style setting, 153
Technique setting, 153
Texture setting, 154
see also Layer styles (Photoshop)
Bezier paths, 157
Bitmap screen fonts, 75
Black background, 129
Blur Length option (After Effects), 330f
Blur option (After Effects), 311f
Brightness
in color deficiency, 127
defined, 124
Budgets
in creative brief, 4
title sequence, 349
as transition decision-making factor, 10
Building/creating title sequence workflow, 354
bed completion, 358f
concept pitching, 355f
concept planning, 354f
getting approval, 358f
project management, 356f
protection, 357f
rendering to client spec, 358f
technical planning, 355f
title movement determination, 357f
C
high angle, 239
high-level, 239
low angle, 239
low-level, 239
real-world cameras, 239
aerial, 243
green-screen production, 249
handheld, 243
motivations for, 244
point of view (POV) and, 244
rack focus, 243
Steadicam, 243
zoom, 243
Camera Settings window (After Effects)
Blur Level option, 234
Depth of Field option, 234
Enable Depth of Field option, 230, 230f, 258f
Film Size option, 234
Focus Distance option, 234
F-Stop option, 234
Cameras
computer-generated, 215
Case studies
The Alphabet Conspiracy, 99b
Le Tourment Vert, 185b
Pop!Tech 2008, 260b
Sympathy for Lady Vengeance, 15b
TED 2009, 171b
title sequences by Ex’pression graduates, 360b
Urbanicity, 282b
Cast shadows, 143
Casting, in order of credits, 352
CC Burn effect (After Effects), 333f
CC Radial Wipe effect (After Effects), 316f, 317f
CC Vector Blur effect (After Effects), 342f
Chevreul, Michel, 116
Cirque du Freak (Weitz), 16
City Lights (Chaplin), 46
Client dynamic
The Kite Runner case study, 66–67
Quantum of Solace case study, 63
Stranger Than Fiction case study, 68
Close-up (CU), 238
Collapse Transformations option (After Effects), 158b
Color
complementary, 128
computer-generated lighting, 142
cultural and sociological connotations, 117
as essential title component, 113
hue, 124
mood and, 117
online resources for, 126b
perception of, 113
political connotations of, 117
preference, 118
primary, 123
properties, 124
psychological responses to, 119t
Radatz, Ben on, 264
religious connotation of, 117
secondary, 123
senses and, 117
symbolism and psychology of, 116–118
tertiary, 123
as therapy, 118
in Urbanicity case study, 283
achromatic, 124
cool, 126
creation techniques, 124
defined, 124
split-complementary, 125, 125f
warm, 126
Color Overlay layer style, 148, 154, 154f
Color palette
Adobe Illustrator, 121
Adobe Photoshop, 121
deciding, 116
color motion picture film, 123
color values, 120
HSL (or HSI), 120
HSV (or HSB), 120
Pantone (PMS), 120
RYB, 119
use decision, 122
YUV, 120
chart, 131f
daylight light fixtures, 131–132
defined, 131
tungsten light fixtures, 131
Complementary color harmony, 125, 125f
Complementary colors, 128
Composition Cropped Layers import type, 192, 209f, 257f
Composition import type, 191–192
Composition Settings (After Effects), 167–168, 221
Basic tab, 167f
Compositions
length setting, 196f, 200f, 209f
settings, 219
Compression, client decision, 34
Computer-assisted title sequences, 56
Computer-generated camera movements, 244–246
handheld, 246
pan, 245
ped, 246
rack focus, 246
Steadycam, 246
tilt, 245
zoom, 245
see also Camera movements
Computer-generated cameras
creating, 216
defined, 215
frame rate, 221
see also Cameras
Computer-generated lighting, 140–146
ambient lights, 141
cast shadows, 143
characteristics of, 140
color, 142
cone angle, 143
cone feather, 143
differences in, 140
intensity, 142
light options, 142
parallel lights, 141
point lights, 141
shadow darkness, 143
shadow diffusion, 143
spot lights, 140
see also Lighting
Concepts
edit, 252
pitching, 355f
planning, 354f
Cone angle, 143
Cone feather, 143
Cone of vision, 84
Continuous rasterization, 156
Continuous Rasterize option (After Effects), 323
Contours, layer styles, 149–151
Cool color harmony, 126
Cooper, Kyle, 351
Creative briefs
budget section, 4
common sections, 4
compiling, 3
defined, 3
deliverables section, 4
objective of, 4
as pre-production step, 5
section examples, 3
target audience section, 4
timeline section, 4
Creative process
The Kite Runner case study, 65, 66
preparation and testing, 172
Quantum of Solace case study, 61, 62–63
Ross, Rock on, 40
Stranger Than Fiction case study, 67–68
TED 2009 case study, 171
Critical focus, 227
D
Da Vinci, Leonardo, 115
Dawn of the Dead blood-splatter type, 339–340
After Effects tutorial, 340–342
defined, 339
see also Famous movie title techniques
Daylight light fixtures, 131–132
Dead Man on Campus (Frankfurt and Fong), 27–28
Delicatessen (Caro and Jeunet), 56, 57
film opening, 56
music, 56
transition into movie, 57
type qualities, 57
Deliverables, 353
client decision on, 34
in creative brief, 4
After Effects, 234
defined, 233
variation, 234
see also Cameras
Deteuranopes, 127
DI. see Digital intermediate (DI)
Difference blend mode (After Effects), 334f
Digital Intermediate (DI)
defined, 36
digital video source/deliverable, 37
digital video source/film deliverable, 38
film source/digital video deliverable, 37
film source/film deliverable, 37–38
image sequence conformed/manipulated, 36
image sequence printed, 36
scanning, 36
Dimmers, 137
Directional Blur option (After Effects), 339f
Director, in order of credits, 353
Director of photography, 352
Display typefaces, 75
Dissolves, 251
Distance, in light intensity, 136
Distribution contracts, 32
Dolly, 243, 244, 244f, 245–246
Double title cards, 30
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Kubrick and Ferro), 52, 53
Drop Shadow layer style
defined, 148
illustrated, 151f
Drop shadows, 151
Duchamp, Marcel, 46
E
City Lights (Chaplin), 46
Duchamp, Marcel, 46
Forbidden Games (Clément), 48–49
Griffith, D. W, 45
Scenic and Title Artist 816 union and, 48
Spook Sport (Bute and McLaren), 47–48
superimposing technique, 46–47
talkies, 46
The Women (Cukor), 47
Echo option (After Effects), 337f
Editing
footage for title sequence, 250–254, 254–256
music, 254
Nimmo, Stacy on, 107
Editors
offline, 359
online, 359
in order of credits, 352
Edits
action, 252
concept, 252
dissolve, 251
fade, 251
form, 252
planning, 253
screen position, 252
Emotional response, as title sequence function, 3
Emotive lighting, 139
animating, 323b
difficulty with video, 322
effects for, 323
processing, 323
setting, 323
typefaces for, 322
Engage and excite, as title sequence function, 2
Eraser tool (After Effects), 318f, 341f
Exploding type, 309
After Effects tutorial, 309b
defined, 309
rotation, 311f
starting from ending, 309f
timeline, 310f
see also Techniques
Expressions (After Effects), 278
Extreme close-up (ECU), 239
Extreme long shot (ELS), 239
Extrude NURBS option (After Effects), 346f
Eyelights, 138
F
Fade up and fade down, 290–292
After Effects tutorial, 290b
basic move, 290
as most common, 290
playhead placement for, 291f
shaped, 294b
see also Techniques
Fades, 251
Fahrenheit 451 (Truffaut), 54
Falling into place, 307
After Effects tutorial, 315b
defined, 307
see also Techniques
Famous movie title techniques, 327–345
Dawn of the Dead blood-splatter type, 339–340
horror-jittery type, 333
Lost-style 3D title, 342
Matrix raining characters, 338
Sopranos-style wipe, 327
Spiderman-style full-3D text animation, 344–345
Star Wars backward crawl, 331
Superman-style explosive type, 335
suspense-style glowing back light, 329
Fantastic Voyage (Fleischer and Kuhn), 53
A Father’s Will
creative justification, 370
description, 370
illustrated title sequence, 370f, 371f
software and techniques, 370
synopsis of movie, 369
see also Title sequences by Ex’pression graduates
Featured cast members, in order of credits, 352
Files, importing into After Effects, 191
Fill lights, 138
Film
DI workflow, 37
frame size, 38
Film cameras
aspect ratio, 218
default recording speed, 220
defined, 215
focus rings, 227
framing, 239
f-stops, 229
use of, 215b
see also cameras
Film title, in order of credits, 352
Film transfer, 65
Film-out, 13
Final deliverable, as postproduction step, 7
Fine cut, 7
painterly effects, 319b
painting/writing text on screen, 315b
write-on effect with font, 317b
see also Techniques
Flash
Convert to Symbol option, 97f
Document window, 96f
Dynamic Text feature, 97b
F keys, 97b
FLV format, 99f
Free Transform tool, 97f
keyframes, 97f
as motion graphics tool, 95
moving type animation to, 98–99
Properties panel, 97f
Type tool, 96f
when to use, 95
After Effects, 232
defined, 231
illustrated, 231f
see also Lenses
adjusting, 227
critical, 227
film cameras, 227
Motion, 228
pull, 227
video cameras, 227
see also Lenses
Font families, 75
Font size
Legibility index (LI), 85, 85t
Nimmo, Stacy on, 105
Peng, Synderela on, 69
point size and, 86t
Radatz, Ben on, 263
Ross, Rock on, 42
Fontlab Studio
defined, 90
Generate Font option, 93f
glyphs, 92f
illustrated, 90f
Fonts
bitmap, 75
handwritten, 77
monospaced, 75
OpenType, 80
Psycho (Bass), 52
tracking and, 79
TrueType, 80
Type 1 (PostScript), 80
weights, 75
write-on effect with, 317b
see also Typefaces
Footage
alternating title cards and, 13
editing for title sequence, 250–254, 254–256
in importing workflow, 191
titles placed over, 195
Footage import type, 191
Footage and motion graphics, 18–27
How We Built Britain title sequence, 18–27
notable title sequences using, 27
Footcandles, 136
Forbidden Games (Clément), 48–49
Form edits, 252
CG camera and, 221
changing in post-production, 224
client decision, 34
common, 222t
defined, 220
film camera, 220
video camera, 220
Frame sizes
asset, 33
client decision in, 34
common, 33t
for film, 38
for mobile devices, 88t
in post-production, 33
Frames per second (fps), 220
Fresnel lights, 135
After Effects, 230
defined, 229
determining, 229
in film cameras, 229
in video cameras, 229
see also Lenses
G
Glow option (After Effects), 336f
Gradient Overlay layer style
defined, 148
effect, 155
illustrated, 155f
Gradients
editing, 212f
linear, 211f
Graphics design department, working with, 165
Great (long) depth of field, 233, 234t
Greatest Story Ever Told
creative justification, 360
description, 360
software and techniques, 361–362
synopsis of movie, 360
see also Title sequences by Ex’pression graduates
Green-screen production, 247–250
camera movement, 249
camera settings, 249
factors in, 247
foreground/background lighting setups, 248–249
green light bulbs, 249
lighting, 247
lighting sources, 249
screen area maximization, 250
shadows, 248
waveform monitor, 247
Grid systems, 81
characteristics of, 81
use of, 81
Griffith, D. W, 45
H
Handheld camera movement, 243, 246
Handwritten fonts, 77
Harmonics, 268
High Pass Filter option (Audacity), 276f
High-key lighting schemes, 139
High-level framing, 239
History, title sequences, 45–60
ABC Movie of the Week, 55
computer-assisted, 56
Delicatessen (Caro and Jeunet), 56, 57
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Kubrick and Ferro), 52, 53
Fahrenheit 451 (Truffaut), 54
Fantastic Voyage (Fleischer and Kuhn), 53
Irreversible (Noé), 60
Lost Highway (Lynch and Johnson), 58, 59
Monsoon Wedding (Nair and Trollbäck+co), 59
Repulsion (Polanski and Binder), 53
Se7en (Fincher and Cooper), 57, 58
Uccellacci e Uccellini (Pasolini), 54–55
Horror-jittery type, 333
How We Built Britain (Edwards)
aerial video footage, 19
defined, 18
final shot, 27
in footage and motion graphics combination, 18–27
Jeep as narrator, 27
sequence beginning, 27
see also Footage and motion graphics
HSL (or HSI) color system, 120
HSV (or HSB) color system, 120
Hue, 124
I
Illustrator, 89
3D Extrude and Bevel effect, 194f
Appearance panel, 194f
Character panel, 194f
color palette, 121
Create Outlines option, 89f
editing type from, 193b
Eraser tool, 90f
Lasso tool, 90f
Live Trace, 91f
modifying text with, 89
swatch libraries, 122
with Wacom tablet, 333f
Image size
in After Effects/Motion, 239
Importing
as Composition Cropped Layer, 192, 315f, 320f, 324f
files into After Effects, 191
as Projects, 193
type changes and, 193
Incident light, 229
Inner Glow layer style
controls, 152
defined, 148
effect, 152
illustrated, 152f
see also Layer styles
Inner Shadow layer style
defined, 148
effect, 151
see also Layer styles
In-scene title wipes, 303
After Effects tutorial, 304b
creating, 304b
defined, 303
Inspector (Motion)
Properties tab, 240, 241f, 242
Intensity, light, 136
Intertitles
defined, 31
use of, 195
see also Title cards
Intervalometers, 220b
Irreversible (Noé), 60
K
Kerning
manual, 78
metric, 78
optical, 78
Ross, Rock on, 43
typefaces and, 78
Key lights, 138
Keyframes
Flash, 97f
Position, 204f, 213f, 305f, 306f, 328f, 336f
Scale, 300f
Kickers, 138
The Kite Runner case study, 65–67
craft, 66
production/post-production team, 66
project length, 66
title sequence concept/inspiration, 65
L
Large type blocks
adding in animations to, 210f
background texture of, 209f
extending, 209f
importing, 209f
setting type in, 207f
type animation, 209f
working with, 207b
Latin alphabet, 73
Layer parenting, 278
Layer styles (Photoshop), 147–155
animating with After Effects, 159–161
Bevel and Emboss, 148, 153–154
dialog box, 148f
Pattern Overlay, 155
types of, 148
Use Global Light option, 149
uses for, 147
Layers
Animator added to, 198f
Audio Amplitude, 280f
Null Object, 332f
text, importing, 193
Le Tourment Vert case study, 185b
camera use, 188
concept and inspiration, 185, 186, 187
creative freedom, 187
French background, 188
project timeline, 188
research influence, 187
type approach, 187
Leading
defined, 79
Ross, Rock on, 43
Legibility index (LI), 85
defined, 85
reference, 85t
translation to screen sizes, 86, 86t
features of, 227
long, 231
normal, 231
prime, 231
short, 231
use decision for, 227
zoom, 231
see also Cameras
Less (shallow) depth of field, 233–234, 234t
LI. see Legibility Index
Ligatures, 76
Light intensity, 136
computer-generated lighting, 142
manipulating, 136
measurement, 136
Light meters, 229
Lighting
emotive, 139
high-key, 139
low-key, 139
Radatz, Ben on, 264
set, tips for, 138b
Light(s)
ambient, 141
angle of, 137
background, 138
balloon, 136
changing type of, 144
color temperature and, 131–132
as essential title component, 113
eyelight, 138
fill, 138
Fresnel, 135
incident, 229
key, 138
kicker, 138
model and settings, 135
open face, 135
parallel, 141
plate creation, 130
point, 141
reflective, 229
in samples/plates, 130
size and output, 135
soft sources, 135
space, 136
spot, 140
tungsten, 131
visible spectrum, 114f
Linear gradients, 211f
Live-action footage, Quantum of Solace case study, 63–64
Live-action shoot
as production step, 7
Logographic writing system, 73
Logos
movie poster, resizing, 166b
studio, 32
Long shot (LS), 238
Lost Highway (Lynch and Johnson), 58, 59
Lost-style 3D title, 342
After Effects tutorial, 343–344
defined, 342
Lower third titles
adding text layer for, 205f
background creation for, 203f
composition creation for, 203f
creating, 203b
keyframe animation in, 205f
keyframes, copying/pasting, 206f
Motion Blur, 205f
opacity in, 204f
render setting for, 207f
Lowercase
ascender, 79
defined, 76
descender, 79
in Legibility Index (LI), 85, 85t
Low-frequency effects, 268
Low-key lighting schemes, 139
Low-level framing, 239
Lumens, 136
M
Main title cards
adding animated illustrative elements to, 161
defined, 30
Manual kerning, 78
Mask Expansion option (After Effects), 294f, 306f, 307f
Mask Feather option (After Effects), 295b, 295f, 302f, 303f, 307f
Mask Opacity option (After Effects), 306f, 307f
Mask Shape tool (After Effects), 294f, 302f
Match frame transitions, 10–11
defined, 10
designer involvement, 10
see also Transitions
Matrix raining characters, 338
After Effects tutorial, 338–339
defined, 338
Matte titling, 54b
Medium close-up (MCU), 239
Medium long shot (MLS), 239
Medium shot (MS), 238
Metric kerning, 78
Mixed case, 76
Mixers, 271
Mobile devices, viewing considerations, 93–94
Monochromatic color harmony, 124, 125f
Monospaced fonts, 75
Monsoon Wedding (Nair and Trollbäck+co), 59
Motion blur
as After Effects option, 205f, 235–237, 309f, 311f, 323, 328f, 339f
rendering, disabling, 236
shutter angle and, 235
Peng, Synderela on, 69
Quantum of Solace case study, 65
Stranger Than Fiction case study, 68
Move tool (After Effects), 346f
Movie posters logo, resizing, 166b
Multiple title cards, 30
Multiply blend mode (After Effects), 333f
Murch, Walter
In the Blink of an Eye, 270
Music
adding in After Effects, 277b
adding to title sequence, 275
in editing process, 254
in order of credits, 352
N
Newton, Isaac, 115
Nimmo, Stacy
on camera movement and transitions, 107
on challenges, 110
on color and lighting, 109
on current projects, 111
on editing, 107
example work (Higher Level), 104f
example work (Jacked Auto Theft Task Force), 106f
example work (The Word), 110f
example work (Vision 08), 108f
on favorite parts, 110
on font size and readability, 105
graphic design background, 103
on Gunshop, 105
influences, interests, and passions, 105
on inspirations, 111
on screen time, 106
on soundtracks, 108
on technology, 110
on title design, 103b
on title safe boundaries, 106–107
Noise, 268
North by Northwest (Bass), 50
Null Object layer, 332f
Null Object option (After Effects), 344f
Number 24
creative justification, 366–367
description, 366
illustrated title sequence, 367f
software and techniques, 367
synopsis of movie, 366
see also Title sequences by Ex’pression graduates
O
Objective, in creative brief, 4
Offline editors, 359
Online editors, 359
Opacity Animator, 292
Opacity blend mode (After Effects), 335f
Opacity option (After Effects), 290f, 291f, 292f, 293f, 337f
Open face lights, 135
terminology and concepts of, 30
typical order of credits of, 352–353
OpenType, 80
Optical kerning, 78
Orbit Camera tool (After Effects), 241
Order of credits, opening title sequence, 352–353
Outer Glow layer style
defined, 148
Elements section, 152
illustrated, 151f
Quality section, 152
sections illustration, 152f
Structure section, 151
Output Module Settings (After Effects), 274, 274f, 359f
Overtones, 268
P
Painterly effects, 319b
After Effects tutorial, 319b
defined, 319
letter form creation for, 322f
paint splatters for, 320f, 321f
type layer creation for, 321f
Painting text on screen, 315b
Pan
defined, 243
illustrated, 244f
in post-production, 33
Pantone (PMS) color system, 120
Paragraph panel (After Effects), 296f, 299f, 332f
Parallel lights, 141
The Partridge Family title design, 55–56
Pattern Overlay layer style, 155
Pedestal camera movement, 243, 244f, 246
Peng, Synderela
on challenges, 70
on designing title sequences, 69b
on font size, 69
on goals/objectives, 70
on inspiration/influence, 71
on motion graphics, 69
on project length, 70
on score, 70
on technology, 70
on title card order, 69
Per Character 3D option (After Effects), 310f
Phaser option (Audacity), 276f
Photoshop
color palette, 121
continuous rasterization, 156
NTSC DV preset, 208f
swatch libraries, 122
Photoshop Sequence option (After Effects), 341f
Picture edit, 11
Pitch, as pre-production step, 6
frequency dependence of, 267
frequency measurement for, 268
low-frequency effects of, 268
see also Sound
Pitching concepts, 355f
Planning
concept, 354f
edits, 253
technical, 355f
Point lights, 141
Pop!Tech 2008 case study, 260b
challenges, 260
imagery selection, 260
integration, 260
Trollbäck, Jacob, 260
Position tool (After Effects), 336f, 343f
Positioning, title sequence, 8–9
at beginning of movie, 8
at beginning/end of movie, 8, 9
in middle of movie, 8
Post-production
changing frame rates in, 224
frame size and, 33
panning and scanning in, 33
steps, 7
Sympathy for Lady Vengeance case study, 15
Pre-compose option (After Effects), 158b, 158f, 317f, 318f
Preliminary testing, as preproduction step, 6
Premiere Pro, Title Designer tool, 325f
Preminger, Otto, 350
Pre-production
steps, 5
Sympathy for Lady Vengeance case study, 15
title sequences, 351
Presets
creating, 169
NTSC DV, 208f
project, 219
Typewriter, 209f
Primary colors, 123
Prime lenses, 231
Producers, in order of credits, 353
Production
early stages, designers in, 352
steps, 7
Sympathy for Lady Vengeance case study, 15
Production company, in order of credits, 352
Production designer, in order of credits, 352
Production/post-production team
The Kite Runner case study, 66
Quantum of Solace case study, 63
Stranger Than Fiction case study, 68
Project import type, 193
Project length
The Kite Runner case study, 66
Peng, Synderela on, 70
Quantum of Solace case study, 63
Radatz, Ben on, 265
Stranger Than Fiction case study, 68
AE Project folder in, 164
AE Renders folder in, 164
defined, 163
master folder in, 163
original art folder in, 164
Photoshop folder in, 164
Project Properties (Motion), 222f
Projects
creating, 219
element preparation for, 351–352
importing, 193
presets, 219
Propagation, sound, 269
Protecting work, 357f
aluminum bars, 51
fonts, 52
foreground/background visual illusion, 51
horizontal black lines, 51, 52
structural forms, 51
Pulling the threads title
Q
Quantum of Solace case study, 61–65
challenges, 65
client dynamic, 63
female forms, 62
forensic table sequence, 64
motion graphics and film transfer workflow, 65
production/post-production team, 63
project length, 63
soundtrack, 65
special effects, 64
R
Radatz, Ben, 262b
advice for novice title designers, 266
background, 262
on challenges, 265
on color and lighting, 264
on favorite titles, 266
on font size and readability, 263
on goals and objectives, 265
illustrated, 262f
on project length, 265
on score in place, 264
on studio guidelines, 264
on team dynamic, 265
on technology, 265
on transitions and hard cuts, 217, 218
on work influences, 263
Radial Blur option (After Effects), 301f
Raining Character In option (After Effects), 338f
Range Selectors (After Effects), 201b, 202f, 308f
Raster images, 156
cone of vision and, 84
factors, 84
Nimmo, Stacy on, 105
Radatz, Ben on, 263
Ross, Rock on, 41
Rectangle tool (After Effects), 211f, 302f
Reduce Interlace Flicker option (After Effects), 325f
Reflection, sound, 269
Reflective light, 229
Refraction, sound, 269
Reload Footage option (After Effects), 171, 195f
Render Settings tool (After Effects), 346f
Rendering title sequences, 359
Repulsion (Polanski and Binder), 53
Research, as pre-production step, 5
Resolution
in film/video workflow, 35
Reverse pull-down, 38
Reverse Transition option (After Effects), 316f
Revised storyboards, as pre-production step, 6
as form following function, 74b
primary use of, 74
Ross, Rock, 39b
on creative freedom, 41
on creative process, 40
defined, 39
on font size, 42
illustrated, 39f
interest in film titles, 39
on job rewards, 44
on kerning and leading, 43
on life experience as influence, 39–40
on number of movies worked on, 44
on preliminary testing, 42
on readability, 41
Rotation tool (After Effects), 311f, 336f
Rough cut, 7
RYB color system, 119
S
Sans serif typefaces, 75
Satin layer style, 148, 154, 154f
Saturation
in color deficiency, 127
defined, 124
Saw-style horror-jittery type, 333
Scale tool (After Effects), 169f, 170f, 199f, 201f, 300f, 306f
Scanning, in post-production, 33
Scenic and Title Artist 816 union, 48
Scores, 271
Screen position edits, 252
Script typefaces, 75
Scrolling titles, 31
Se7en (Fincher and Cooper), 57, 58
aesthetical qualities, 58
close-up shots, 57
defined, 57
Se7en-style horror-jittery type, 333
Secondary colors, 123
seen and Not Heard
creative justification, 363
description, 363
software techniques, 363
synopsis of movie, 362
title sequence illustration, 363f, 364f
see also Title sequences by Ex’pression graduates
Selection tool (After Effects), 302f
Serif typefaces, 74
Shadows
cast, 143
darkness, 143
diffusion, 143
drop, 151
Shape layers (After Effects), 161b, 161f, 162f, 163f
Shaped fade up and fade down, 294b
Shutter angle, 235
defined, 235
motion blur and, 235
see also Cameras
defined, 234
higher, 235
slower, 235
see also Cameras
Single title cards, 30
Skew option (After Effects), 329f
Small caps, 76
Smart quotes, 76
Smudge tool (After Effects), 340f
Sopranos-style wipe, 327
After Effects tutorial, 327–329
defined, 327
matching look/feel of, 327f
skewing in, 329f see also Techniques
absorption, 269
audio integration of (After Effects), 271–274
importing, 279f
mix, 271
propagation, 269
reflection, 269
refraction, 269
score and, 271
synching with type, 279b
Sound effects
adding in After Effects, 277b
adding in Audacity, 275b
adding to title sequence, 275
defined, 271
Nimmo, Stacy on, 108
Quantum of Solace case study, 65
Space lights, 136
Special effects, Quantum of Solace case study, 64
Spiderman-style full-3D text animation, 344–345
After Effects tutorial, 345–348
background animation, 347f
defined, 344
Split-complementary color harmony, 125, 125f
Spook Sport (Bute and McLaren), 47–48
Spot lights, 140
Spotlight reveals, 297
After Effects tutorial, 297b
defined, 297
see also Techniques
Square color harmony, 126, 126f
Star Wars backward crawl, 331
After Effects tutorial, 331–332
defined, 331
type formatting in, 331f
Steadicam, 243
Steadycam, 246
Stencil Alpha
cutting out textures with, 157b
defined, 157f
using, 158f
Stop-motion titles, 312
After Effects tutorial, 312b
defined, 312
equipment requirement for, 312f
importing photos for, 313f
with modern equipment, 312b
Stopwatches
Offset, 338f
Scale, 334f
Story by, in order of credits, 353
The Kingdom title sequence, 28–29
notable title sequences using, 29
Storyboard revision, 6
Storyboarding, as preproduction step, 5
Straight Alpha option (After Effects), 347f
Stranger Than Fiction case study, 67–68
client dynamic, 68
main-on-end title sequence, 68
motion graphics and film transfer workflow, 68
opening sequence, 68
production/post-production team, 68
project length, 68
rotoscoping and motion tracking, 68
title sequence concept/inspiration, 67
type treatment, 68
Stroke layer style
defined, 148
effect, 155
illustrated, 156f
Stroke weight, 76
Studio logos, 32
Studio name, in order of credits, 352
Style frames, as pre-production step, 5–6
Subtitles, 31
Superimposing technique, 46–47
Superman-style explosive type, 335
After Effects tutorial, 335
defined, 335
flying title animation in, 336f
type towards camera in, 337f
Supertitles, 195
Suspense-style glowing back light, 329
After Effect tutorial, 329–330
defined, 329
Syllabic writing system, 73
Sympathy for Lady Vengeance (yU+co)
case study, 15b
video-based title sequence, 14
T
Talent contracts, 32
Talkies, 46
Target audience, in creative brief, 4
Technical planning, 355f
Techniques
Dawn of the Dead blood-splatter type, 339–340
exploding type, 309
fade up and fade down, 290–292
falling into place, 307
horror-jittery type, 333
Lost-style 3D title, 342
Matrix raining characters, 338
painterly effects, 319b
painting/writing text on screen, 315b
Sopranos-style wipe, 327
Spiderman-style full-3D text animation, 344–345
spotlight reveal, 297
Star Wars backward crawl, 331
stop-motion titles, 312
Superman-style explosive type, 335
suspense-style glowing back light, 329
text bounce, 299
timing, 289
tracking, 295
write-on effect with font, 317b
zoom-in effect, 306
Technology
Nimmo, Stacy on, 110
Peng, Synderela on, 70
Radatz, Ben on, 265
TED 2009 case study, 171b
creative process, 171
Trollbäck, Jacob and, 171, 171f
Tertiary colors, 123
Testing
preliminary, 6
as production step, 7
TED 2009 case study, 172
Tetradic color harmony, 125, 126f
Text bounce, 299
After Effects tutorial, 299b
defined, 299
see also Techniques
Text tool (After Effects), 331f
Textures, cutting out with Stencil Alpha, 157b
Tickers
color transition for, 212f
composition creation for, 210f
creating, 210b
defined, 210
effect completion for, 214f
keyframe interpolation for, 213f
linear gradient for, 211f
rectangle expansion for, 212f
setting keyframes for, 213f
setting speed for, 213f
setting type for, 212f
Time remapping, 224
in After Effects, 224, 226f, 314f, 342f
for stop-motion titles, 312
Time Reverse Keyframes option (After Effects), 318f
Timelines, in creative brief, 4
Title card-based title sequence, 200b
with After Effects, 200
animation template, 202f
composition setup, 200f
title creation, 200f
title duplication, 202f
title trimming, 201f
Title cards
animated, 196b
in avoiding typos, 32
creating, 195
double, 30
early, 45
matte, 54
multiple, 30
nonmoving, 195
order, Peng, Synderela on, 69
single, 30
triple, 30
Title Designer tool (Premier Pro), 325f
Title designers
choosing of, 350
delivery responsibility of, 351–352
with design team, 351
in early stages of production, 352
in match frame transitions, 10
novice, advice for, 266
time with creative team, 350
Title Safe boundary box, 86
Title sequences
adding sound effects/music to, 275
alternating title cards and footage, 13
animation-based, 16
budget and, 349
computer-assisted, 56
creative process overview for, 3–7
editing footage for, 250–254, 254–256
effective, 2
footage and motion graphics in, 18–27
functions of, 2b
match frame transitions in, 10–11
music of, 1
opening, typical order of credits, 352–353
in pre-production, 351
pulling the threads and, 29–30
rendering, 359
in setting tone, 1
story within a story and, 28–29
title card-based, 200b
titles over picture and, 11–13
video-based, 14
Title sequences by Ex’pression graduates, 360b
The Better Angels (Chen), 364–366
The Better Angels (McLeod), 368–369
Greatest Story Ever Told, 360, 361–362
seen and Not Heard, 362, 363–364
After Effects tutorial, 302b
defined, 301
in-scene, 303
see also Techniques
Titles
average speed on, 289
distribution contracts for, 32
Lost-style 3D, 342
movement determination in workflow, 357f
safety, 86b
scrolling, 31
stop-motion, 312
subtitles, 31
talent contracts and, 32
typos, avoiding, 32b
defined, 11
readability and, 12
title placement in, 12
defined, 268
harmonics, 268
overtones, 268
see also Sound
Tracking
fonts and, 79
typefaces and, 79
Tracking animation, 295
After Effects tutorial, 295b
defined, 295
Tracking option (After Effects), 296f
Transitions
decision-making factors for, 9
Nimmo, Stacy on, 107
Treatment, as pre-production step, 5
Triadic color harmony, 125, 125f
Triple title cards, 30
Trollbäck, Jacob
Pop!Tech 2008 case study, 260
TED 2009 case study, 171, 171f
TrueType, 80
Tungsten light fixtures, 131
Two-dimensional motion tracking, 12–13
Type
animation, moving from After Effects to Flash, 98–99
editing from Illustrator document, 193b
horror-jittery, 333
importing Photoshop documents and, 193
large blocks of, 207b
Matrix raining, 338
Photoshop layer styles with, 147–155
size, 76
Superman-style explosive, 335
synching with sound, 279b
Type tool (After Effects), 200f, 321f, 338f
Typefaces
The Alphabet Conspiracy case study, 102
bitmap, 75
color combinations for, 127–129
display, 75
emotional qualities, 74
end scroll, 322
kerning and, 78
ligatures, 76
lowercase, 76
mixed case, 76
monospaced, 75
properties for, 75
sans serif, 75
script, 75
serif, 74
small caps, 76
stroke weight, 76
tracking and, 79
type size, 76
uppercase, 76
x-heights, 75
see also Fonts
Typographic narrative, 79b
Typography
function of, 73
Websites for, 80b
Typos, avoiding, 32b
U
Uccellacci e Uccellini (Pasolini), 54–55
Uppercase
defined, 76
Legibility Index (LI), 85, 85t
Urbanicity case study, 282b
color use, 283
concept and inspiration, 282
Holmes, Steve, 282
influences, 287
research, 287
V
Variable frame rates, 224, 224b
Vector images, 157
defined, 157
resizing, 168
Video
DI workflow, 37
end scrolls with, 322
Video cameras
ASA rating, 230
default recording speed, 220
defined, 215
focus rings, 227
frame format, 218
framing, 239
f-stops, 229
white balance alteration, 134
see also cameras
Video-based title sequence, 14
Virtual cameras
creating title sequences with, 256–259
functioning of, 256
Von Goethe, Johann Wolfgang, 115–116
W
Waveform monitors, 247
Web
video displays, 93
White balance
defined, 133
video camera alteration and, 134
White Noise option (Audacity), 275f
Wide shot (WS), 239
Wiggler panel (After Effects), 334f
The Women (Cukor), 47
Workflow, importing text/files, 191–193
files into After Effects, 191
footage, 191
Workflow, title sequence, 5–7, 163–171
bed completion, 358f
building and creating, 354
concept pitching, 355f
concept planning, 354f
getting approval, 358f
with graphic design department, 165
logo resizing, 166b
post-production, 7
pre-production, 5
production, 7
project management, 163–164, 356f
rendering to client spec, 358f
setting up in After Effects, 167–171
technical planning, 355f
title movement determination, 357f
work protection, 357f
asset frame size, 33
deliverable format, 33
deliverables decision, 34
resolution, 35
source format, 33
Write-on effect with font, 317b
After Effects tutorial, 317b
defined, 317
see also Techniques
Writing credits, in order of credits, 353
Writing text on screen, 315b
X
X-heights, 75
Y
YUV color system, 120
Z
Zoom camera movement, 243, 245
Zoom lenses, 231
Zoom-in effect, 306
After Effects tutorial, 306b
defined, 306
see also Techniques