Mix of footage, 3D and cel-animated elements to create intense energetic bike racing titles.
Main title sequence for the Stephanie Soechtig-directed, Katie Couric-produced documentary about gun control and the history of the NRA.
Great animation inserted into this ITV campaign by Golden Wolf.
Lots of nice pencil and paint-strokes in these titles for Sky Sports coverage of Cricket’s 2019 Ashes Series. Also available for the Men’s: https://vimeo.com/351365553
Great title sequence & great Doc exposing the tale behind Cambridge Analytical and Facebook.
The six-part CNN docuseries has a title sequence directed, designed and animated by David Penn.
Dave Penn was invited to conceive and produce a title sequence for an Oxford Films feature documentary.
Method Studios’ New York team recently designed the intricate opening titles for “El Chapo,” a new series from Univision and Netflix that retells the story of notorious Mexican drug kingpin Joaquin “El Chapo” Guzman.
Manages to look low-tech and true to the retro however lots of CGI used. The story of vinyl records, designed & produced by Imaginary Forces.
50 years ago the martial arts legend Bruce Lee wrote material and pitched the idea for Warrior. In 2019, Cinemax finally brought it to life. The series creator Jonathan Tropper and his team approached Method Studios to create the opening sequence for the adrenaline-pumping new series
Polar, the Netflix action film directed by Jonas Åkerlund and based on Víctor Santos’ comic series, winds down with this arresting end credit sequence designed and produced by Toronto’s Worship studio with Tendril picking up an executive producer credit.
Dynamic and graphic splits of images to mix to live action.
Embraces an “un-design” philosophy
Interesting mix of glitches and dots on the weekly facebook news format from C4.
A very nice personal project from Yanic Fridman, combining 3D and 2D motion graphics.
A great title sequence by The Other House for ‘Project Blue Book’
Opening titles for “CIVIL 80”, a documentary TV series about the Spanish civil war. Created by Antoni Sendra AKA PODENCO – a spanish freelance director specializing in mixed media driven projects.
Titles created by Niels Prayer
Character animation by Quentin Laville
Visuals & Music by Niels Prayer
Yest another great title from Patrick Claire and his colleagues at Elastic for the Netflix TV series.
Nice title using lots of type and texture from Elastic.
Design: Elastic, Design Director: Duncan Elms, Designers: Nadia Tzuo, Felix Soletic, Erika Bird, Luca Ionescu, Henry DeLeon, Animators: Jeffrey Jeong, Yongsub Song, Vincent Wang, EJ Kang, Peter Murphy, Steven Do, Hal Heah
Title sequence showing the deconstruction of Manhatten.
Design Studio: Elastic, Executive Creative Director: Angus Wall, Creative Director: Lisa Bolan, Art Director: Heidi Berg, Designer: Felix Soletic, Composite and Animation: Yongsub Song, Charles Khoury, Piero Desopo, Alex Silver, Rachel Brickel, Editor: Lauren Dellara
Opening sequence for a CNN mini-documentary about biometrics created by Ignacio Osorio
Our digital world is being shaped by our physical bodies. Biometrics are fast becoming the new way to identify ourselves and the industry is booming.
Lovely work from these guys below following the infamous HO Chi Ming trail on mountain bikes.
Production: Red Bull Media House
Director: Nicholas Schrunk
Producer: Sandra Kuhn
Art Director : John Likens
Design + Animation: John Likens, Wesley Ebelhar
Reel music: Remains by Shlohmo
Great title sequence from “The Drawing Room” apparently about the U.S. government’s systematic persecution of gay and lesbian State Department employees during the Cold War.
Animated intro video for MediaMolecule’s Twitch stream combining live action with playful animation.
Animation/Direction: Dan Castro
Illustration: Rex Crowle
Titles using silhouettes cut out from stills.
From Elastic and directed by Angus Wall
TV Graphics from Troika, branding specialists.
A very simple and elegant painterly end sequence from Blur Studio.
A surprisingly effective sequence considering that our brains seem to suggest that there’s more there than there is. Not sure who the creative is but will update this post when we find out.
Dave Penn directed this animation (along with Jellyfish and Sixfingers) for a six-part CNN documentary series concerned with what went on behind the scenes during key presidential campaigns in U.S. history. Sponge paint mattes provide nice transitions for cleverly laid out photographs.
Painted transitions and frames create artistic transitions for Underground, the new WGN America series. Done by Imaginary Forces.
Small titles for Gunpowder a new advertising creative showcase. Animated in 2D and 3D using a variety of techniques by Art & Graft, they create a rich and modern title.
This title gets us up to speed quickly with the recent history of Ukriane, well at least how the story goes in the West. It’s another excellent piece of work from Patrick Claire
Opening Title sequence of HBOs Documentary; MANHUNT. The show documented the two decade hunt for Osama Bin Laden. Lots of documents and ink bleeds.
Creative Directed & Designed by Manija Emran.
Produced by The Mill+
Lots of layers of political and social upheaval over the centuries are organised through what looks like a burning paper effect for the titles and graphics for director Greg Barker’s documentary, We Are The Giant, a Passion Pictures & Motto Pictures Production.
Creative Directed & Designed by Manija Emran. Produced by Mill Plus themillplus.com
Stop motion title sequence for the ending of the Lego Movie. Nice layout, positioning and camera movement give a childish subject a mature look.
Mill+ co-director Ben Smith and co-director Bryce Wymer teamed up with Netflix to create the title sequence for Marco Polo and most appears to be achieved on camera but with a lot of planning.
Essentially, spy stuff. Lots of overlays and tracking footage and data gives it that high-tech espionage look. By Imaginary Forces
Map title sequence, simple idea nicely executed in a fun, crafted way by Imaginary Forces.
Slight alteration to the aired version as the cross was taken off. Short and simple but nice idea with the flag transition. By Imaginary Forces.
Simple idea of diagrams on paper done very well in true Imaginary Forces style, similar in fashion to their popular Rubicon title.
Antibody created the main title sequence for HBO’s critically acclaimed drama series True Detective. Working through our LA-based production partners, Elastic, and with compositing support from the talented crew at Breeder.
A subtle mix of 3D into the retro spooky styling by using painted textures on the 3D models. The look is spooky with an old film feel.
Retro style graphics in a 2D graphic style contributes a swinging soundtrack. A fifties style animation similar to Catch Me if You Can.
Titles by Dvein, fromthe Spanish film director Kike Maíllo’s retro-futuristic sci-fi thriller.
A nicely shot and animated homage to the individuals who have produced landmark titles for features in the past.
An old title sequence now but still quite memorable. By yU+co
Mixing hi-tech juxtaposed with an old film effect gives a interesting outcome.
Animation for the opening of Kiss Kiss Bang Bang starring Robert Downey Jnr. The titles use simple mattes and strokes to create an old painted effect, with more focus on the style rather than the animation.
End titles for the film. Referencing early 1960’s title sequences as inspiration, simple shapes are used to graphically represent scientific data including DNA sequencing, mitosis, meiosis, and gene technology.
Prologue piece together a clever device shooting close-ups with a muted palette and short depth of field. The series is a modern take on Sherlock Holmes by CBS starring Lucy Liu as Watson. I know, right.
Nice title sequence using interesting motion on hockey notation and jump cut editing
Battles of the badges in this new animated title sequence for the Euros.
Graphic titles combined with sand tinted archive to produce a brief history of Saudi Arabia.
Titles incoporating archive stills by placing them against a plane of breaking glass. Not for the very squeamish…
Title animation using purely motion graphics and clever transitions with a small colour pallete to great effect. Lots of documents.
Title sequence using image mapping of 2D paintings on to 3D objects.
Mixing live action with rotoscoped animation and stop-frame to create a mixed media look.
Titles using tracking to display data in a scientific and graphic manner.
Static titles using close-ups of paper and documents with subtle animation to create a coded typographical sequence.
Old diagrams are animated in 2D and 3D to create a vintage looking title sequence with a graphic feel.
Title sequence using lights as a matte to reveal photography. Simple yet effective.
This sequence block shades the live action and adds it together with animation to create a very bold graphicly styled sequence.
Title sequence using minatures and macro lenses to create space with tiny figures.
Graphical sequence using buzzing numbers to convey telephone hacking and voicemail decoding for Channel 4’s Dispatches.
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Dexter’s titles include extreme close-ups to get a dramatic feeling of intensity.
Artistic title sequence mixing painting with live action and close-up.
Film title sequence using flat colouring with subtle 3D to create a retro graphic feel
Classic title sequence using live action footage placed carefully with credit typography
Montage of our Timewatch special using canvases decorated with photos and memorabilia to create rostrum style moves matching the narrative.
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Titles for Robin hood mixing traditional painterly techniques with a modern twist.
Classic Title sequence for True Blood. Using a mixture of archive and shot footage with a edgy heavily graded look. Thanks, Bolex.
Titles for american sitcom using text from a book to animate the characters and type throughout.
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Titles for an old BBC Knowledge slot on Non-English language cinema. Shot in and around London and projections were composited later.
A title we shot some years ago in my house in Wandsworth doubling as a US government office in the 30’s. We used a boroscope lens which was about a foot in length attached to a DigiBeta camera to get in to see that dust.
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