Unpacking Title Sequences

Oh, the art of a good title sequence. Let's be honest, it can make or break your initial interest in a series or movie. At the end of the day, we want suspense and we want drama with a capital D. Therefore, it is paramount for motion designers to skillfully implement motion design fundamentals in their work.

Let's take a look at some examples and unpack their use of motion design fundamentals and kinetic typography, as well as how earlier sequences influenced contemporary sequences.

Stranger Things (2016)

The execution of primary, secondary and temporal motion is highly effective in communicating the ominous tone of Stranger Things. However - it required much influence of earlier sequences to create an authentic 80's tone, the selected time period in the series. Therefore, illustrating multiple similarities to Robert Greenbergs cult-classic sequence work in Altered States (1980) and The Dead Zone (1983).

Primary & Secondary Motion (Stranger Things)

Primary motion refers to the movement of an object in the frame, whilst secondary motion relates to movement of the camera (Krasner 2013). A specific example of well executed primary motion in this sequence is the subtle shifting of each letter. In turn, building suspense for the final reveal of the title. This kinetic type style also metaphorically communicates pieces of a puzzle or information coming together - an element of the stranger things plot. By pairing this with the glowing red graphic style, an ominous and sinister sci-fi tone is formed (Kilmister 2016). Moreover, subtly mimicking the feeling of a pending volcanic eruption - nodding to the distressing environment of the upside down.

Example of Primary Motion in Stranger Things (2016) - Indicated through arrows

Secondary motion assists to communicate this concept during the final title reveal of the sequence. Specifically, a slow pan out is implemented, which pairs with the peak of the soundtrack to create synchronicity for the viewer (Betancourt 2017). Relating to visual aesthetics, the choice of typeface show's similarities to the typeface 'Benguiat'. This was heavily used in the work of Stephen King's thriller novels in the 1980s - the writer of The Dead Zone (Smythe 2012)).

Example of Typeface Influence from 1980's Stephen King Novels

Temporal Considerations (Stranger Things)

Temporal considerations in motion design include factors such velocity and time. Velocity refers to how quickly elements of the composition move over time (Krasner 2013). This is proficiently executed in the reveal of the title as the final letters slow drastically down from a steady pace before slotting into their final position. In turn, dramatising the feel of the animation and increasing it's engagement.

As stated, this selection of techniques was heavily influenced by Robert Greenbergs earlier work.

Let's take a look at these earlier sequences.

Altered States (1980)

Primary & Secondary Motion (Altered States)

Both primary motion and timing work seamlessly in conjunction through this sequence to create an eery and suspenseful tone. Specifically, coordinated relative motion is present through the crossover of the letters which are scaled to cover the entire screen. Paired with minimal opacity of the type, this technique creates a restricted window for the viewer to observe the opening scene. Further, creating the feeling of a barrier between the viewer and protagonist to communicate feelings of isolation in the tank. In relation to the supporting type, easing through a fade-in and out has been utilised to compliment the slightly chaotic nature of the crossing over type.

Similarly to the Stranger Things sequence, secondary motion is demonstrated at the end through a pan out the reveal the title. As this is occurring, the 'window' of the scene decreases, enhancing the depiction of helplessness and isolation. From a design perspective, this is extremely clever as it powerfully combines both motion and visual aesthetic choices to convey the desired concept and feeling.

Temporal Considerations (Altered States)

A consistently slow, and dragged out pace has been implemented through the typography in this sequence. However, it avoids appearing boring through the shapes and imagery subsequently created by the kinetic type. This pace causes tension to build for the final reveal, creating the drama and suspense that we all love and crave in a title sequence.

The Dead Zone (1983)

The Dead Zone displays similar elements to both the Stranger Things and Altered States sequences. For example, the scale of the typography replicates the introduction of the Alfred States sequence, whilst the secondary motion through a pan out reveal is similar to both. In turn, working effectively to create suspense - (yes, I said that again).

The use of primary motion in the typography is effective through it's ability to communicate aspects of the content and plot. For example, slowly unveiling the type alongside snapshots of different scenes emphasise the concept of psychic visions or 'flashes' explored in the movie (King 2024). The use of negative space contrasts that exhibited in the Altered States sequence, now being used to create an unsettling feeling of encroachment.

In relation to timing of the typography, an immensely slow pace is present - much like the previous sequences. However, it is also paired with the steady and consistent easing of supporting type to remain engaging.

How Has The Dead Zone & Altered States Influenced Stranger Things?

Influences such as slow typography pacing, large scale and use of panning to reveal the title are highly evident between each sequence. However, more importantly the influence of optical motion in the earlier sequences on the use of digital motion in Stranger Things is key to explore. Optical motion refers to to motion created by the camera itself, whilst digital motion is established through editing methods (ref).

For example, the Stranger Things designers at Imaginary Forces drew visual inspiration from "mistakes" in the opticals of 1980's film such as light casting through film (O'Falt 2017). This inspiration is evident through their selection of a red glow in the type, illustrated below. Subsequently, highlighting how the application of motion design fundamentals and visual aesthetics consistently influence one another over time.

Overall, it is interesting to observe how the structure and use of motion fundamentals will often remain the same for series or movies in the same genre. In this case, how the sci-fi/thriller genre is distinguished through an eerily slow pace sequence and steady easing of supporting text. Therefore, inspiring me to both challenge these styles and take influence where needed.

REFERENCES

Betancourt, M 2017, Synchronization and Title Sequences, edn. 1, Routledge, New York

Krasner, J 2013, Motion Graphic Design: Applied History and Aesthetics, Routledge, Oxford

Klimister, J. 2016, 'The Typography of Stranger Things’ title sequence', LinkedIn, 25th September, viewed 7th April 2024, <https://www.linkedin.com/pulse/typography-stranger-things-title-sequence-jaz-kilmister/>

King, S 2024, 'The Dead Zone', Stephen King, viewed 6th April 2024, <https://stephenking.com/works/novel/dead-zone.html>

O'Falt, C 2017, 'How ‘Stranger Things’ Created That Awesomely Retro Title Sequence', IndieWire, 21st June, viewed 2nd April 2024, <https://www.indiewire.com/awards/industry/stranger-things-opening-titles-typography-duffer-brothers-netflix-1201845063/>