Stranger than fiction
What was the main concept and inspiration for the motion graphics and main-on-end title sequence in Stranger Than Fiction?
Initially, we were given a scrapbook, which was basically a personality guide to Harold Crick, Will Ferrell’s character in the film. It was put together by Zach Helm, the screenwriter. From this, we knew we were working with an obsessive/ compulsive type who is also an IRS agent and math aficionado. We also were given a basic knowledge of the premise of the film: that he is being followed around by an all-knowing voice, narrating and predicting his every move. He eventually discovers that the voice is that of a famous novelist, in which whose in-progress topic he is a character and who plans to kill him off at the end of the topic.
From this, we distilled two directions: exploiting the cluttered, disheveled stereotype of a writer, or the anal, antiseptic nature of an IRS agent with OCD. Like a schizophrenic, we started to play with both.
Can you talk about the creative process while working on the stranger than fiction graphics and main-on-end titles, from early inspiration through development and final deliverable?
Our first pitch was based purely on some initial concepts and a general understanding of what Marc [director Marc Forster] was looking for. We didn’t realize that the initial sequence had already been shot and was moving along in editorial, so we went out and filmed Timmy as Harold Crick and created this minute-long experimental short/pitch that was accompanied by a pile of style frames and mood boards. Marc and the team really liked what they saw. We were awarded the job and were passed a more or less final cut of the opening sequence.
From there, we created two concepts. The first concept was more of a collaged experimental animation style that was conceptually tied to the author character’s perspective. It consisted of visual tropes that were related back to the author/narrator, such as calendars, notes, various kinds of paper, coffee stains, etc. The typography was a typewriter derivative, which we complemented with real-time typos, corrections, and notations. Little editorial notes would appear as the story progressed. We created another set of style boards as well as a minute-long animated sketch that incorporated moving footage from the opening sequence and was cut to the spoken narration by Emma Thompson.
The second concept came from the mind of Harold Crick, which we interpreted as a stark, white graphical world that played with all sorts of infographics, data tidbits, and formulas. We felt that a clean, stylized, very orderly visual language would parallel his personality and be a perfect visual expression to depict all these other ideas and thoughts in his mind. Style boards were created, and from those a test animation was completed, showcasing the early attempts at animating and compositing this infographical world into the live-action cut.
Originally, the titles were to be integrated into the opening, but Marc liked what we were doing with the graphical overlays, so he decided to have an entirely separate title sequence at the end of the film, which we realized as a moving photo album of sorts, mashing together B-roll footage of Chicago settings with kinetic title cards. The footage was shot by Marc and DOP Roberto Schaefer.
We worked on the title sequence concurrent with the opening sequence.
Was the opening sequence at a locked-picture stage when it reached you, or did you have any editing input?
The opening sequence was around 90% locked when we started to work with it. Some of the graphics had a hand in the storytelling, but ultimately, we worked within the cut given to us by Matt Chesse, the editor. The main input we had editorially was the implementation of a Fibonacci-like golden-spiral editing transitional device, which we employed several times in the sequence. This was a technique that we had developed early on, and we were happy that it made its way into the final. Conceptually, it speaks to the mathematical mind of Crick, and it’s just a really neat visual storytelling device.
Can you elaborate on the motion graphics and film transfer workflow?
We were supplied with the opening sequence, and our other 30-ish shots were peppered throughout the film as 2K DPX file sequences. We did all the compositing ourselves, passing back full DPX sequences to the studio. We’d order film-outs consistently during the postproduction schedule, which we’d take over to a small, privately run theater in town for reviews. We were looking at graphic consistency, legibility, and overall color space compatibility.
For the main-on-end titles, we ultimately had to move into 4k plates because some of our graphic line work was just too thin for the emulsion. They would start to dance at 2K, and upping the resolution fixed the issue.
Can you elaborate on the rotoscoping and motion tracking work you did?
Oh, my God, we did so much rotoscoping during that project. It was insane. It ate up so much time but was well worth it for the final output. All roto work was done in After Effects. We did a bit of 3D tracking in Boujou but mostly utilized the built-in motion tracker in After Effects.
What was the length of this project?
We had about six months to complete the opening sequence and main-on-end titles. Half of that was conceptualizing, research, and development and the other half production.
How large was your production/postproduction team and what were their roles?
At the time, our studio was nine strong. We had seven creatives on the job and two producers on our side. The team had fluid roles, from graphical build and layout to rotoscoping and compositing.
Can you elaborate on the client dynamic?
The client dynamic was great. This was our first time working with Marc and his team. We immediately got along with everybody. There was great communication and they all were very patient and extremely helpful, as this was our first foray into the film world. It was quite educational, and they’re really good teachers.
What about the type treatment?
We started with the Carson font Thaitrade, which is a very clean sans-serif. We felt it was the best typeface to parallel Crick’s equally organized thought process. We then developed a "Swiss Army” animation technique in which all the type springs out from around him when called for. We extended this technique to the type treatments in the main-on-end sequence as well, though because they were superimposed over more ambient footage and disassociated with the character, we gave them some supporting graphic flourishes.
How about color and camera use in the main-on-end title sequence?
We thought of the sequence as a pile of photos, with an unseen hand sorting through them. Marc really wanted something energetic and bright to close the film out with, so we opted for a four-tone primary color palette and unpredictable, raw movement, both with the camera and with how the "photos” were tossed around. Instead of a front-lit light source, we chose to backlight the photos, creating interesting secondary/tertiary colors when they overlapped.
Interview: synderela Peng on Designing title sequences
Figure 2.5 Synderela Peng, Art Director, yu+co.
Motion Graphics Studio
Can you talk about yourself and your background?
I was born in Indonesia and came to the U.S. to attend college in 1991. I went to Art Center for my undergraduate and received a degree in illustration in 1996. I then worked for a number of years, mostly in design-related jobs because work as an illustrator was hard to find and simply didn’t pay a lot. In 1999 I applied for CalArts, for a masters in graphic design, with the idea that I could do more if I knew more. CalArts was great, opened my mind up to a lot of new ideas that didn’t necessarily feed into the commercial endeavors but were invaluable nonetheless. And after I graduated in 2001 I started working at yU+co doing motion graphics and have been there since.
How did you get to specialize on motion graphics and, in particular, film titles? How does your life experience influence your work?
I knew Garson (yu) from my time working prior to CalArts. And when I got done with school I applied for work at yU+co. Much of the work produced at yU+co was film titles at the time, and I’ve always enjoyed the process of creating intros, like a mini story before the movie begins. If you are in a creative field of any kind, your life experience is inseparable from your work. I love to read, particularly short stories and nonfiction, and very often the literature in my life evokes a tone and a visual. Whenever it is possible I try to bring that into my commercial work. Not a lot of that makes it into the final product, but it’s a great starting point to feed the imagination.
What are your guidelines and preferences in regard to font size and readability for theatrical releases, broadcast, and smaller screens?
Film is generally more forgiving than broadcast, for obvious reasons. So for film projects, type sizes can be a bit smaller. Occasionally we have to watch for typefaces that are too thin because as the reels get duplicated the quality deteriorates, and so will the thin type. Broadcast, general rule of thumb is to not have very thin serifs; they become muddled once pull-down is applied. Those nuances are lost.
What kind of guidelines do you usually receive from the client/studios in regard to title card order, font size, or size distinction between executives, main film title, main talent, and supporting roles?
Film companies usually send us a legal sheet that states the size relationship between the actors. Often we request waivers to unify the sizes between the actors; it makes our life as designers a little easier and gives a sense of visual unity.
Can you talk about the relevance of editing in the work you do?
Editing is integral to the process. In the case of film titles, we need the help of an editor to piece a story together. Having a good editor will make your life so much better! And in broadcast, an editor will determine the visual and audio rhythm, very important to our media-saturated world, since capturing that excitement and the eye of people with one-minute attentions spans is crucial.
Do you generally work on your titles while having the score already in place? If so, how does that affect your work?
Very often we work without the final score. About 40% of the time we get the final score when our design process begins. But the clients usually have a direction for where they want to take the piece. So we temp in music that simulates the rhythm and tone to help us along. It can be difficult to not have the music in place when you start production, but that never stops the process.
As an art director, can you elaborate on the dynamics of your team of designers, 3D artists, and illustrators?
I work with a team of rotating artists. There is a core staff of six or seven people, and we hire freelancers as required by the amount of projects. Most of the time the design process is very open and democratic. Garson puts everyone on board to contribute ideas. If the boards selected are not mine, I still get brought in to art direct, mainly to be a creative point person to interact with clients and to organize and manage.
Is there a typical length of time you are given (or a minimum amount of time you request) when you work on a title sequence project? What are the shortest and longest projects you have worked on?
Film titles, about two to three months. Shortest film title project: three weeks. Longest, I don’t really remember. Those are hard for me to work on, so I must have shut them out of my memory.
Can you elaborate on the research you do in your projects and it affects your work?
I start with words, sentences. Which very often leads to visual explorations. Sometimes random pictures inform the concept. But lately, the instincts seem to have become more honed. So I am spending less time playing around with things that may not necessarily feed into the project. It may sound less spontaneous, but it really isn’t. You just get better at narrowing your ideas down and finding fun things to explore within the constraints.
What are your main goals/objectives when you are working on a title sequence? What is your own measure of success?
First and foremost, how well we have complemented the film and how well it leads into the main body of the narrative. I don’t perceive that statement to be driven by the Bauhaus modernist notion of problem solving but more by the idea of creating the appropriate context. Film titles are kind of unique in motion design in that stylistically they can be standalone pieces, but ultimately they have to contribute well to a larger narrative in order for them to work.
What are the most challenging aspects of your work?
Communication during crunch time! I find that my sentence structure becomes very short and reductive when deadlines are impending. Almost like your mind wants to work faster than your verbal motor skills can handle. It’s a constant reminder to slow down and learn to explain things well. So, in essence I would say the communication component in production.
What are your favorite parts or aspects of the work you do?
My favorite is still design to start. And then the next high point is when you realize that the methodology you thought would work in your head actually is coming alive in previz.
How does technology affect your work?
Well, we have to embrace some of it in order to keep up. But ultimately it’s still the creative process that holds the key. Every decade people talk about how cool it is that we are "going back to the analog process” in this or that other way. The truth is, we never lost that. That human element, the tacit way of understanding is integral to any creative process, and in that sense we never need to worry about losing ourselves in techy updates. But I am an optimist in that regard.
Throughout your career, approximately how many titles (or type-oriented motion graphics) have you worked on?
I actually don’t remember … 30?
What are your favorite titles you worked on?
Sympathy for Lady Vengeance, W, Hulk, Enchanted.
What are your favorite titles (if different from the ones you worked on)? Favorite graphic designers, type designers, or motion designers? Favorite font?
I love the introduction to Goddard’s Contempt, that long panning shot following the cinematographer. Imaginary Forces’ Donnie Darko, that title sequence has such a strange hold over me that I cannot explain. Also the titles to Michael Haneke’s Funny Games (original German version), where the calming classical music is interjected by screaming death metal. Finally, Zombieland, ironic and dark, and visually so clever and good to look at.
I always enjoyed reading about Eric Gill, his was a colorful life. Big and flawed personalities are so fun.
There are too many designers I respect and love. One of the people on the top of my list is Karel Martens. And also my teacher Ed Fella; his work is so idiosyncratic.
I don’t actually have a favorite font, I’m not so much of a type geek.
Who inspires you? What is your biggest influence?
I draw from the same pool that most of my friends get their inspiration from: artists, filmmakers, and writers. A lot of painters, not for any direct influences, but that visual exposure always puts me in the right state of mind to explore new ideas. And traveling does that too, it zaps me out of the jaded mode and puts a fresh spin on my perception of the world—an antidote to so many things.
What are you working on now?
Two title sequences: a main-on-end for Shrek4 and another one for Hot Tub Time Machine, a total dude flick.
