Monday, 2 March 2015

Further research for inspiration

Penny Dreadful



I have added this title sequence from "Penny Dreadful" because I think it is very beautifully done and reflects the darkness of the show in a really effective way. There is a particular use of closeups through out which makes it more surreal and the use of lighting is spot on, because it isn't so dark that it takes the detail away. Also, I love the audio because it is very melancholy but dramatic at the same time. The whole sequence as a whole gives off the sense of mystery. Camera angels and the use of slow motion are a massive contributor in this sequence and I really like the idea of including some of these similar aspects into my own. 

Coraline


The opening titles for Coraline begins off being rather normal but then it gradually gets more and more strange. I thought it would be important to look at some examples of different methods of animation. This is a really good example of stop motion being used in quite a creepy way, this film is an important one to me because it is a reminder that stop motion can be turned into something scary if done right! Again there are some really effective examples of closeups in this sequence an they really 
trigger questions in the viewers' minds. 

Corpse Bride



The opening titles for Tim Burton's "Corpse Bride" looks very similar to the type of idea I have got in my head about how my sequence could look. I like the idea of having one main colour as the theme and having the actual line work to all be in another colour - I don't want it to be too much for the eyes colour wise because each key frame part of the sequence will only be showing for a few seconds. Also I think this will be a case of "less is more" because I think if I went overboard with colour it will take away the darkness that I want to reflect. This title sequence for the Corpse Bride is also brilliant because it hasn't gone to over the top with the audio. The music used is beautiful but also quite mysterious and eerie at the same time. 

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