This project was created for my motion class.
The brief was to create two motion graphic title sequences for a fictional movie that demonstrates different technical and aesthetic approaches to the medium.
This title sequence is a contemporary rendition of the first sequence I created, which is influenced by the late 1950s to early 1960s cinematic conventions (included below).
Janice had her life planned out. She was once happy. But now, she doesn’t even know what tomorrow will look like. After witnessing a murder, Janice is forced to keep silent or risk her own life. She has become withdrawn and now lives a secluded life. She keeps to herself, saying little and revealing nothing for the fear he may come after her.
Combining modern trends and styles, I approached this title sequence primarily utilising Cinema 4D. Inspired by the Mannequin Challenge, the concept is ‘frozen in time’. I also found conceptual and visual influences from the title sequences: Aquaman (2018) and Hunters (2020).
I approached this concept with the intention to emphasise the idiom: in the wrong place at the wrong time. By encapsulating the exact time and place Janice witnesses the murder, it emphasises the significance of the event, one that changes her life forever.
With the concept I have chosen, I did not have the ability to convey the narrative through usual movement and gestures. The characters are static, therefore it was important that I assigned appropriate poses and facial expressions to each of them. Furthermore, camera angles and camera movements also had to be considered to effectively convey the characteristics and role of each character.
The visual style is a combination of urban cyberpunk and cotton candy sunset aesthetic. I found this style to be suitable for the title sequence as it is quite eerie, dark and gloomy. It also possesses qualities of desert, isolation and loneliness.
To create the title sequence, I created a small environment/scene in Cinema 4D. The layout was carefully planned to enable ease of access and mobility when working with the cameras.
THE WITNESS (1960s)