T.M. Analysis of 'The Number 23' Title Sequence

The Number 23 Title Sequence Analysis

0:04- 0:07	New Line Cinema Presents
0:09- 0:12	Contrafilm/ Firm Films Presentation
0:13- 0:15	A Joel Shumacher Film
0:16- 0:20	Jim Carey
0:20- 0:26	The Number 23
0:32- 0:36	Virginia Madsen
0:44- 0:47	Logan Madsen
0:53- 0:55	Danny Huston
0:59- 1:01	Rhona Mitra
1:01- 1:04	Lynn Collins
1:14- 1-17	Mark Pellegrino
1:24- 1:27	Patricia Belchen   Ed Lauter
1:29- 1:31	Casting by Mali Finn
1:37- 1:40	Written by Fernley Phillips
1:41- 1:44	Linda Fields Hill
1:48- 1:50	Costume Designer Daniel Orlandi
1:56- 1:58	Editor Mark Stevens
2:01- 2:04	Production Designer Andrew Laws
2:04- 2:07	Director of Photography Mathew Libatique
2:10- 2:11	Co-producer Fernley Phillips
2:14- 2:17	Executive Producer Mike Drake
2:25- 2:28	Produced by Beau Flynn
2:31- 2:35	Directed by Joel Schumacher

The film title is first seen in the sequence 20 seconds in. The red type writer font accompanied by a number of x's above and below creates a sense of mystery and enigma due to the audiences lack of knowledge as to what the number 23 means. The font style also conveys an old fashioned time period, suggesting the number 23 has chilling historic significance. For example many historically linked events to 23 are shown; 'The Mayans believed the world would end on December 23rd of the year 2012. The title then fades out through bloody spreading spatters which immediately connotes the movie is going to be related to death and murder. The sequence includes a constant drumming in the background which keeps the pace fast moving, and keeping the audience in suspense, there are also sharp noises as well as increases of pitch creating tension.

J.R. Opening Title Analysis

Opening Title Analysis 

True Detective Opening Credits

Time	Text
00:02-00:04	Woody Harrelson / Mathew McConaughey
00:04-00:06	Michelle Monagan
00:06-00:08	Michael Potts
00:08-00:10	Tory Kittles
00:12-00:14	Casting by Alex L Fogel, CSA
00:18-00:20	Music by T Bone Burnett
00:23-00:25	Costume Design jenny Eagan
00:27-00:29	Editor Alex Hall
00:32-00:34	Production Designer Alex Digerlando
00:42-00:44	Director of Photography Adam Arkpaw
00:48-00:50	Co-producer Jessica Levin
00:52-00:54	Producer Carol Cuddy
00:54-00:56	Executive Producers Steve Goblin, Richard Brown
00:58-01:00	Executive Producer  Mathew McConaughy
01:02-01:04	Executive Producer  Woody Harrelson
01:07-01:09	Executive Producer Scott Stewdhans
01:12-01:14	Executive Producer Cary Joji Fuknaga
01:16-01:18	Executive Producer Nic Pizzolatto
01:20-01:24	TRUE DETECTIVE
01:24-01:26	Created by Nic Pizzicato
01:26-01:28	Written by Nic Pizzolato
01:28-01:30	Written by Nic Pizzolatto

Throughout this opening clip we see that the type face remains the same throughout and remains the same size despite the different credits shown. however their is some variation, unlike all the 'general' credits shown each for 2 seconds, the title is shown for approximately 4 seconds and is larger in size. The positioning of the text is generally at least a 250 pixels in from the sides of the footage, and is positioned according to what is happening in the film. This is what we plan to do in  our opening. Another point to make is that the colour of the text is at a constant white throughout (other than the red title) this is a neutral colour and will fit in with any footage whilst shown. This is an important factor to pick up when we plan to make our own opening as a neutral colour such as white would be a good choice to make as it will fit in with our footage well, especially after it is darkened in after affects, meaning that it will be easily noticeable and easy to read. In addition to this we see that the text does not have to many effects on it other than a possible fade in and fade out show occasionally. This is due to the fact that the text is placed over a moving image and if made too complicated it will be virtually impossible to read, therefore this is why this is the case in this title sequence.

Group. Reflection on Shoot

 

Reflection on Shoot

 

 

On the 24th of January we set out early morning to shoot our horror opening. Unlike last week when we attempted to shoot the opening, we decided as a group to change the time we shot to the morning rather than night/dusk, so that we would not run out of natural light as we did in the previous shoot. In comparison to our other shoot last week this shoot proved to be much more successful, we believe that this is because of the fact that we had a greater understanding of our framing and positioning of the camera than previously, in addition to this we were able to evaluate our 'initial' shots and how editing would affect them this resulted in us improving the way in which we included lighting in our opening. By this we added bin bags and towels to certain windows in order to break up the light entering the caravan. This would allow us to edit the colour grading of the footage without 'light spots' occurring, meaning that our overall footage will have a better finish to it.      

 

Below are some images of Tom and Harry filming the opening;

 

 

 

 

 



Feedback 2 - Mrs Fernandez

Tom / Harry / Jack

Well done; this blog is shaping up to provide level 4 evidence of organisation, research and reflection on your process. You are clearly working very effectively as a group; your pitch was excellent in its use of ICT to present the work as well as demonstrating how your research is informing your creative process. The treatment is well considered, location challenging but you are working pro-actively to problem solve technical issues there. Your practice tasks show you have the technical skill to produce a L4 outcome with careful planning of shoots.

Can you:

1. post animatic including titles so we can review timings
2. On technical analysis, can you concude with some observations of what you have learnt overall from this process and how this feeds into yourconcept development at that time
3. post audience research with results
4. make sure you include a detailed review of your shoots and over the next few weeks that each of you are contributing reflective posts on how the work is progressing.

Group. Animatic

H.C. Analysis of 'The Dead Zone' title sequence

Duration (seconds)	Credit	Framing
0.00 - 0.11	"Paramount"	The "Paramount" institute logo is displayed.
0.12 - 0.22	"Dino De Laurentiis presents" "The Dead Zone"	Black screen, credits fade in and out. The credits are displayed in the centre of the frame, in a bold, simplistic typeface, which is consistent for all credits throughout the title sequence.
0.23 - 0.30	"A David Cronenberg Film"	Establishing shot of a house fades in, followed by the credit fading into the screen. At 0.30, the establishing shot fades out with the credit still displayed. A black triangle graphic appears in the top right hand third of the frame.
0.31 - 0.40	"A David Cronenberg Film" "Starring Christopher Walken"	A second establishing shot of a building is shown. The credit fades in, along with a sculpted black graphic, over the top of the image of the building. The credit fades out and then the shot fades out.
0.41 - 0.50	"Brooke Adams"	A still frame of wheat plants fades in, followed by the credit fading in. Another shaped black graphic is inserted over the top of the image. The credit then fades out, followed by the still image fading out.
0.51 - 1.00	"Tom Skerritt"	An establishing shot of a landscape is shown. The credit is faded in, in the middle of the sequence. As the credit fades out, a constructed black graphic appears in the top left of the screen.
1.01 - 1.10	"Herbert Lom"	Continuing the pattern shown in the rest of this sequence, an establishing longshot of a road is faded in with the credit fading in. As the credit fades out, another black graphic appears in the bottom third of the screen, roughly centred. At 1.10 the image is faded out.
1.11 - 1.20	"Anthony Zerbe" "Colleen Dewhurst"	A still frame of a wooded pathway fades in, followed by the first credit fading in as well. As the credit fades out, an additional black graphic is inserted into the top left hand corner of the frame. The second credit is then faded in and retained as the image fades out.
1.21 - 1.30	"Colleen Dewhurst" "Nicholas Campbell"	A still of a field and trees is shown, followed by the first credit fading out. This is followed by one of the black graphics appearing in the top right hand corner of the frame, with the second credit also fading in. As the credit fades out, so does the still image.
1.31 - 1.40	"AND Martin Sheen as GREG STILLSON"	An establishing landscape shot is faded in, followed by the credit and a black graphic fading in together. The credit fades out, then prompting the image to be faded as well.
1.41 - 1.49	"MUSIC COMPOSED AND ARRANGED BY Michael Kamen"	A still of a road is faded in, and then the credit is also faded in followed by another black graphic. The graphics begin to take up the majority of the frame, slowly revealing the top layer on the screen, like a jigsaw being put together.
1.49 - 2.00	"COSTUME DESIGNER Olga Dimitrov R.C.A."	A still longshot showing a road, trees and grass, and a cloaked figure fades in, as well as the credit. The credit later fades out, allowing for a further black graphic to be inserted, showing the outlining of lettering.
2.01 - 2.09	"ASSOCIATE PRODUCER Jeffrey Chernov" "FILM EDITOR Ronald Sanders"	A shot of a path is brought in, with the first credit. As this credit fades out, a circular black graphic is brough into the bottom third of the screen and a vertical spike in the top third, again appearing to outline lettering. The second credit is then brought in, remaining as the image fades out.
2.10 - 2.19	"FILM EDITOR Ronald Sanders" "PRODUCTION DESIGNER Carol Spier"	Two figures on push bikes are faded in, in a still longhsot on a road. As the first credit is faded out, two more black graphics are layered in, revealing a 'D' and an 'E'. The second credit is then faded in and fades out with the still image.
2.20 - 2.26	"DIRECTOR OF PHOTOGRAPHY Mark Irwin C.S.C."	A still of a road is put in frame and the the credit is faded in. The single black graphics are then joined together, forming the words 'DEAD ZONE'. The title then begins to retract backwards.
2.26 - 3.03	"BASED ON THE NOVEL BY Stephen King" "SCREENPLAY BY Jeffrey Boam" "PRODUCED BY Debra Hill" "DIRECTED BY David Cronenburg"	The title "The Dead Zone" is pulled backwards though the screen, the main focus in the frame as the rest is engulfed by black. The images continue to change behind the title.
3.04	N/A	The title fades out and fades into an image of a school building, implied by the ringing of a bell.