Title Sequence Montage - 25 of the best title designs
For a tour through the annals of title design and motion graphics history, and to get a sense of the trajectory of complex visual cinematic language over the past four decades, you could do much worse than to sit back at watch this 10 minute montage. the piece draws together 25 of the more significant, inlfuential, clever and dynamic title sequence designs; and whilst there may be arguments to be had over what was left out, it still serves as highly informative collection.
What i find most interesting about the art of motion graphics is that for much of the past 3 decades it has been resigned to a specific role in constructing condensed visual meaning for the 'introduction' of larger, more traditional, cinema - title sequences for movies and TV shows. In many ways the more interesting evolution for motion graphics going forward will be the saturation of motion graphics as a common visual language, not only for 'intros' but for the consumate telling of cinematic stories and evocation cinematic meaning.
Many may scoff at the idea of a layered, dynamic, complex and visually dense array of media elements being a mainstay of a movie rather than the introductory, special purpose, fringe. But those same people, a few decades ago, would have also scofed at the idea of hand-held camera or fast cutting. Cinematic langauge evolves and the literacy of cinema's viewers evolvs with it. To the 'digital native', who's minds work at twitch-speed, for whom digital, screen-based multitasking is a everyday practice, for whom the senory overload of immersive gaming is their mainstay of cinematic media, such a proposal for Motion Graphics is hardly far fetched.
It's become a point of amusement that some film makers refuse to work with the industry's king of motion graphics, Kyle Cooper on the basis his cinematic credits can often outshine their movie. see Wired
What you've picked up here Peter is a general, perhaps unperceptible in my wee world, theme of how multilayered, condensed, narratives can convey a story akin to the best 'MTV' promo narrative.
This heightened sense of music, compositing, sequencing, Man with a movie camerish extension pushes all the right buttons in online videojournalism film making.
Director Tony Scott, Michael Bay, Greengrass and a slew of film makers use the dna of motion graphics as 'breaks'/ 'narrative arcs' within their films.
While my argument is not that Vjism's growth is purely motion graphic driven, the complexities of visual storytelling told simply in MG will go some way to advance the next phase of this nascent story telling form.
I thought calling IMVJ - Integrated motion/multimedia Videojournalism might help me think along those lines.
It's become a point of amusement that some film makers refuse to work with the industry's king of motion graphics, Kyle Cooper on the basis his cinematic credits can often outshine their movie. see Wired
What you've picked up here Mike is a general, perhaps unperceptible in my wee world, theme of how multilayered, condensed, narratives can convey a story akin to the best 'MTV' promo narrative.
This heightened sense of music, compositing, sequencing, Man with a movie camerish extension pushes all the right buttons in online videojournalism film making.
Director Tony Scott, Michael Bay, Greengrass and a slew of film makers use the dna of motion graphics as 'breaks'/ 'narrative arcs' within their films.
While my argument is not that Vjism's growth is purely motion graphic driven, the complexities of visual storytelling told simply in MG will go some way to advance the next phase of this nascent story telling form.
I thought calling IMVJ - Integrated motion/multimedia Videojournalism might help me think along those lines.
What you've picked up here Peter is a general, perhaps unperceptible in my wee world, theme of how multilayered, condensed, narratives can convey a story akin to the best 'MTV' promo narrative.
This heightened sense of music, compositing, sequencing, Man with a movie camerish extension pushes all the right buttons in online videojournalism film making.
Director Tony Scott, Michael Bay, Greengrass and a slew of film makers use the dna of motion graphics as 'breaks'/ 'narrative arcs' within their films.
While my argument is not that Vjism's growth is purely motion graphic driven, the complexities of visual storytelling told simply in MG will go some way to advance the next phase of this nascent story telling form.
I thought calling IMVJ - Integrated motion/multimedia Videojournalism might help me think along those lines.
tara
D
Posted by david Dunkley Gyimah on March 14, 2008 at 05:45 PM EST #
What you've picked up here Mike is a general, perhaps unperceptible in my wee world, theme of how multilayered, condensed, narratives can convey a story akin to the best 'MTV' promo narrative.
This heightened sense of music, compositing, sequencing, Man with a movie camerish extension pushes all the right buttons in online videojournalism film making.
Director Tony Scott, Michael Bay, Greengrass and a slew of film makers use the dna of motion graphics as 'breaks'/ 'narrative arcs' within their films.
While my argument is not that Vjism's growth is purely motion graphic driven, the complexities of visual storytelling told simply in MG will go some way to advance the next phase of this nascent story telling form.
I thought calling IMVJ - Integrated motion/multimedia Videojournalism might help me think along those lines.
tara
D
p.s Mike, just called you Peter :)
Posted by david Dunkley Gyimah on March 14, 2008 at 05:48 PM EST #
Posted by 217.65.158.124 on March 19, 2008 at 01:30 AM EST #