José made an excellent shading system that nailed the look of the wet gritty surfaces and the weathered stones, which took a lot of love to shape into very uneven bricks. The client originally wanted the logos formed out of pools of water but Chris Sanchez came up with the idea of making them out of the cobblestones, which they loved. In the opening logos, is there any part of the cobblestones that are real? And they learn from me as I help them to avoid the same mistakes I made when I was their age. I also learn a lot from them – they always bring in new ways of doing things. I owe that to the client and I especially owe that to the younger designers who are building their own body of work and careers. I work very closely with everyone and I am always part of the process. The main title and Hallucination VFX team was myself and Brett. The illustrations took a long time to make. The end credit sequence required the most people by far, as there was so much detail in the illustration and transition work. We broke up into three separate teams with a total of about 14 people working around the clock. How large was the production team, and how closely do you work with them? But we have a great group of talented and dedicated people who did what it took to get it done. It was a lot of work, even for a company our size. Once they approved the look, we had about four weeks from start to finish, and we were also given a special effects sequence. In retrospect, I think they were a little dark!Įnd credit storyboard from finished sequence – Henry Hobson, Simon Clowes, and Lisa Bolan I decided to go into a different direction with mine. Designers Henry Hobson, Simon Clowes, and Lisa Bolan teamed up and made those storyboards. They also wanted the end credits to be an anthem to the film, using highlights from the movie.
#Sherlock holmes movies in order full#
They went from wanting a full main title to having a short main title and an end credit sequence. Several months went by and the film had taken shape more so they decided to lose the headlines sequence. They liked the presentation and told us they would get back to us. I also shot some test footage with the Canon 5D to do a couple motion style tests. We also wanted to show part of the printing process of that time period using the linotype machine and woodblock type headline compositions.Īfter going back and forth a bit, we concluded that it should be a macro shoot and very graphic, so we rented some time at a printing museum and set up several still shoots to get all the material we needed for storyboards. The brief I was given was to do a live action shoot that involved a lot of newspaper headlines from the late 1800s, which would give a little history to the early beginnings of Holmes and Watson and lead into the first scene of the film following the last headline on top of a stack of newspapers laid at the doorstep. I was invited to fly out to present them at one of the sets in London and see some of the film, so I had a very strong sense after that of where they wanted to go visually. So Ilya Abulhanov and myself made a couple of ideas. We were sent a script and got very excited about it after seeing the more edgy and fun interpretation of the classic character. He liked what we made for RocknRolla and asked us to consider something for Sherlock Holmes. Take us through your artistic process – how do you begin a project like Sherlock Holmes? What was your approach to the logos and the beginning and end titles?ĭY: I got a call from director Guy Ritchie while he was in the middle stages of principal photography. He currently resides at Prologue Films and has created titles for Kiss Kiss Bang Bang, Iron Man and RocknRolla.Ī disscussion with Creative Director DANNY YOUNT of Prologue Films. The sequence’s Creative Director, Danny Yount, is a self-taught Emmy-winning designer/director who produced the main titles for Six Feet Under and The Grid while at Digital Kitchen. Watery cobblestone logos and longitudinal linotype layer, lace, and lash Prologue Films’ opening title and main-on-end credit work for Guy Ritchie’s Sherlock Holmes.
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