Title Sequence

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El Chapo Main Title Sequence — arisu kashiwagi Typographic Logo Design, Typography Poster Design, Graphic Poster, Graphic Design Trends, Graphic Design Print, Grafic Design, Art Design, Title Design, Movie Intro

Concept and designs for Univision and Netflix's original series El Chapo main title sequence. This direction focuses on the multiple layers of El Chapo’s public and private life in a collage of newspaper articles, show footage, and real news clips. The camera excavates through the tears, pushing through stories of El Chapo told by the media, to shed light on the truth at the end of the tunnel. Violent tears rip through a vignette to reveal another image, at times destroying and…

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Josh Fronk
Pacific, The Sequence Style, Title Sequence, Story Titles, Movie Titles, After Effects, John Basilone, Art Of The Title, Motion Design Animation, Band Of Brothers

In the main title sequence of The Pacific, the 2010 miniseries produced by HBO, Playtone, and Dreamworks, the faces of men are rendered rough and dark, streaked with war.Created by studio Imaginary Forces, the opening moves back and forth between rough lines on fine textured paper and footage in black and white with tints of red blotting the scenes. We follow a stick of conté, shards flying off like so much shrapnel, tracing the edges of subjects and their explosive surroundings. Keeping…

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<p>Paris est à nous (Paris is Us), one of Netflix's first original releases in France, was also director Elisabeth Vogler’s debut feature. Adventurous and gorgeously shot, it’s a dreamy film that, much like its central character Anna (Versailles’ Noémie Schmidt), is concerned with experiences and sensations, prioritizing exploration without the need for a clear destination. <br />Its title sequence, designed by motion designer Nina-lou Gia Laurent Garnier, Art Of The Title, Dense Fog, Spring Breakers, Title Sequence, Original Music, Paris, Encouragement, How To Become

Paris est à nous (Paris is Us), one of Netflix's first original releases in France, was also director Elisabeth Vogler’s debut feature. Adventurous and gorgeously shot, it’s a dreamy film that, much like its central character Anna (Versailles’ Noémie Schmidt), is concerned with experiences and sensations, prioritizing exploration without the need for a clear destination. Its title sequence, designed by motion designer Nina-lou Giachetti and a small Paris-based team, embodies this indecision…

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