![]() “It’s actually one of few instances that the title doesn’t appear in the lyrics at all. “‘Writing’s on the Wall’ is, in essence, a love song, which is strange because Spectre is such a sinister word,” he added. I tried to link the images to the lyrics occasionally, not so it’s pedantically illustrative, but with a lightness of touch.” For Spectre I heard the track reasonably early, not a finished edit, but it was helpful. “I often start creating the title sequence before I’ve heard the song. Kleinman noted that the tune and titles rarely come about in a single process. We intended to render through Maya and Arnold, but due to technical reasons moved to render in Houdini, the first time we’ve done so on a big project in Integrated Advertising.” Otherwise it was “the usual suspects” in terms of software, said CG supervisor Simon French: “Maya for animation, Houdini for a lot of effects, and Nuke of course for Compositing. The glassy reflections and refractions also gave the artists an opportunity to use V-Ray in Nuke, a tool that allowed improved 3D-style rendering. We were able to use the song lyric, about shattering glass, to our advantage, stylizing the sequence in a way that brings all of the past elements together.” One of them is underwater, yet we needed to make them look like they were all shot for this sequence. ![]() “The pieces come from different environments, were shot on different cameras. “It’s quite easy for it to look a bit stuck-on,” said Bartlett. The CG simulations were technically intricate, especially when paired with the challenge of using archived footage from past Bond films. Fiery elements were supplemented with macro work in a tank, capturing high-speed droplets of ink in water, which would be used extensively, particularly around the dancing female figures and in the memory sequence. It’s a challenge, but it’s fun, and those basic elements are really good elements.”Īrtists from Framestore attended the three day titles shoot to collect the many stylistic elements and special effects to be used throughout the sequence. Bartlett explained, “People really want to see the familiar things, but feel they’re seeing them in a new way. Of course, there are the staples like girls, guns and the occasional skull to remind us of the heritage surrounding the film. Primary elements included the octopus, and a focus on love and relationships, not typical of recent Bonds. It’s something we think about quite carefully when we’re working.” You reveal some of the themes you’ll see later on, present some in an abstract way, but at the time it’s just an image, something to come back to later. We start to see it, and get a feel for the piece. “Plotting the sequence out with camera moves and segues really helps, even if only with the use of placeholder images. “Generally with Bond titles, the motion and flow of things is key,” said Bartlett. That will be the thing that I take and run with, try to find the visual metaphors, and have some fun with the idea of it.”įramestore’s artists received word of key elements, and started to block out the initial storyboard, with some pre-visualization work. In most Bond films there’s a theme that runs throughout. It’s important that the ideas and visuals are narratively driven. “I don’t have any preconceived ideas, anything stored up or saved up from other things when I come to the job. With six Bond sequences already under his belt, Kleinman knew exactly how to approach the work. The work kicked off in May, after the sequence director Kleinman received the call-up from Bond producers Michael Wilson and Barbara Broccoli.Īfter reading the script, Kleinman met with Framestore to start concepting visual idea. There are technical challenges here too, of course, but the emphasis is on the creative exploration.” “On a commercial the work tends to be more buttoned-down, with a greater focus on the technical rather than the creative. “There’s more scope, for sure,” said Framestore executive creative director William Bartlett. For teams accustomed to creating shorter, snappier commercial spots, the Bond titles are a chance to approach the work in a different way. The creative process spanned almost four months, involving more than 30 artists and producers, who worked closely with Kleinman to define the images, style and tone of the sequence. Director Sam Mendes recently tapped London-based Framestore and sequence director Daniel Kleinman to create the open titles sequence for Spectre the latest installment in the James Bond franchise.
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