TITLE SEQUENCES · IDENTS · TYPE IN MOTION — BROOKLYN NY
The studio other studios call when the opening credits have to carry the whole film. This page is the reel — scroll to play.
SC 02 · THE PITCH
We design main titles, network idents and type that moves like it means it. Every ease is keyed by hand. Every cut lands on the beat. If a frame doesn’t earn its 1/24th of a second, it doesn’t ship.
RECENT FRAMES · 01 / 03
Main titles for a two-part documentary on the last hand-poured paint works in Rotterdam. No CG — forty litres of vermilion, one overhead camera, and a studio floor we still owe someone an apology for.
RECENT FRAMES · 02 / 03
Opening titles for a slow-burn thriller. Ink dropped into a two-metre tank, shot at 1000 fps and run in reverse — so the credits assemble the way the plot does: backwards.
RECENT FRAMES · 03 / 03
Six idents for Channel 44’s rebrand, four seconds each. Painted poplar blocks, real gravity, twelve takes per stack. The sound design is just the wood.
SC 06 · WHAT WE MAKE
Two minutes that set the tone for the next two hours. Storyboard to final DCP, graded and delivered.
Four seconds that make a channel recognisable with the sound off. Built in sets of six, tested at one metre and at forty.
Kinetic type systems keyed by hand — variable fonts rigged like puppets, shipped with curves your editors can keep.
Lower thirds, bumpers, end pages — the whole broadcast wardrobe, cut to survive season five.
SC 07 · DEPARTURES — RECENT WORK LEAVING THE BUILDING
SC 08 · CASTING CALL — OPEN ROLES
CASTING CALL
appearing as “the frame counter”
READS: Notices a two-frame hold from across the room. Holds at least one strong opinion about ease curves and can defend it with a graph.
CASTING CALL
appearing as “the closer”
READS: Turns “can we see options” into a signed scope. Calm at picture lock minus one day.
CASTING CALL
appearing as “the apprentice”
READS: Fast hands, faster questions. Will be trusted with real frames by week two — and blamed for none of them.
Send us the brief nobody else could cut.