Opening titles for "Paris est à nous"
A movie by Elisabeth Vogler
Production: Netflix
Visual Direction: Nina-lou Giachetti
Design & animation: Romain Gauthier, Benjamin Geffroy, Nina-lou Giachetti, Paulin Girard, Anais Mak
Orchestral original music: Jean-Charles Bastion
Electronic original music: Laurent Garnier
https://www.artofthetitle.com/feature/top-10-title-sequences-of-2019/

Winner of the "Prix Rosalie" 2019 of We love your names
We had the chance to create this title sequence by contacting the director of the movie (Elisabeth Vogler) after seeing their crowdfunding on the social networks (with Anais Mak, Romain Gauthier, Benjamin Geffroy, Paulin Girard). I had the idea of making a title sequence crafted by 5 hands, the director liked it because it was based on the same idea that built its movie, also created by multiple hands. 

I started by pitching some styleframes to display the universe I had in mind, and after that first step each one of us had to develop their parts the way they wanted, just following some rules / guidelines I created to keep a continuity.
The rules were to create abstract compositions made from the shapes of the letters used to write the name of the cast on the screen, we had to distort, repeat, enlarge (...)  them. Keeping in mind the idea that the title sequence had to visually display the sensation of getting high while on drugs, as well as the sensation of vertigo. In order to do that, each one of us had to work on hypnotizing compositions. On the other hand we also had to find some pictural guidelines using color and texture to harmonize our work.
So we all made a bunch of styleframes (we used a mix of 2D and 3D) with this rules that we all put in common in a second time. I made an animatic sequence trying to edit in the best way possible all these images together. After that, each one of the team had to develop as a V2 his shots according to this animatic. While working on this, Jean-Charles Bastion was creating the music that will go on our images and we share our work at multiple steps, doing feedbacks as a ping-pong game, that was very interesting ! The orchestral music was by the way recorded with orchestral instrument in a particular ambient that also put some grain in the audio. As the matter of fact the music was also a collaborative project between Jean Charles Bastion and the famous french techno artist Laurent Garnier.
The fact of doing abstract compositions from the letters of the names on screen allowed to see 2 visions, the word in his definition and the word in his expression.
The typographic choice of using "Akzidenz" typeface was made to keep an uniform shape of the peace, but also for its lineal graphical characteristics. Because I was inspired by the principle of the legends in science books (Figures) I decided to associate "Akzidenz" with "Leitura".
For the choice of the font of the title card reveal we used Panamera, simple but with hidden distortion on his structure. The title card reveal was thought to re-use the codes of the title sequence but to make the transition of the end of the first sequence in the club and the beginning of the movie. Re-using the lights visible in the club, but in an abstract way,  it can also remind us of lights that we find at the end of the movie.

The end credit where made by another talented guy named Alexis Jaulmes.  

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