Uncredited examines how opening sequences in films, classic and contemporary, act as hooks to draw the viewer into the film, showing frame by frame how graphics, type and animation are used to create atmosphere, set tone, and lend impact to movies. Chapters include Casting Titles on to Film, Titles as Logos, Textures, and Concepts, as well as chapters focusing on specific title designers including Maurice Binder who was responsible for Dr. No and the brand image for every 007 film since 1962. Also included is an examination ...
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Uncredited examines how opening sequences in films, classic and contemporary, act as hooks to draw the viewer into the film, showing frame by frame how graphics, type and animation are used to create atmosphere, set tone, and lend impact to movies. Chapters include Casting Titles on to Film, Titles as Logos, Textures, and Concepts, as well as chapters focusing on specific title designers including Maurice Binder who was responsible for Dr. No and the brand image for every 007 film since 1962. Also included is an examination of the technological advancements in filmmaking that have allowed designers to direct credits as an aide, an advertisement, or as a sort of short abstract film within a film. From Hitchcock and Godard to Tarantino, Luc Besson, and Tim Burton, this large format coffee table book finally illuminates this critical role designers play in filmmaking and gives credit to those that often go uncredited. Includes DVD.
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Seller's Description:
New. Uncredited examines how opening sequences in films, classic and contemporary, act as hooks to draw the viewer into the film, showing frame by frame how graphics, type and animation are used to create atmosphere, set tone, and lend impact to movies. Chapters include Casting Titles on to Film, Titles as Logos, Textures, and Concepts, as well as chapters focusing on specific title designers including Maurice Binder who was responsible for Dr. No and the brand image for every 007 film since 1962. Also included is an examination of the technological advancements in filmmaking that have allowed designers to direct credits as an aide, an advertisement, or as a sort of short abstract film within a film. From Hitchcock and Godard to Tarantino, Luc Besson, and Tim Burton, this large format coffee table book finally illuminates this critical role designers play in filmmaking and gives credit to those that often go uncredited. Includes DVD. BEAUTIFUL COPY! ! !
