Aladdin Titles – Behind the scenes

Aladdin Titles - Behind the scenes

Disney is developing a follow-up of the live-action feature Aladdin, according to an article published two weeks ago in Variety, and we couldn’t be more excited about it. Based on the 1992 animated classic, the remake was a huge hit the past year, grossing more than a billion dollars in the box office.

With Aladdin 2 officially on the way and Disney + out in the UK since yesterday, we thought It could be fun to know a bit more about “the making” of the titles. Here in Fugitive, we were lucky enough to design and produce all the graphics. Do you want to know more? Keep reading! (Geek alert!).

  • Main Titles

In the following pictures, you can see the beginning of the title’s development. We receive a brief and we normally design or choose different fonts that would work with the topic, genre, etc. 

In the original feature, some of the main titles become sand and disintegrate, in this case, we had to create the sand and the title separately (with Cinema 4D) and then compose them together in After Effects. (The reflections of light on the texture change from the morning to the night time).

The wispy smoke coming out of some letters was a combination of X-Particles + Turbulence FD in Cinema 4D. We created up to 10 different versions modifying speed and cooling time. The animation was produced in Turbulence and then X Particles “would follow” that movement: so, the speed in the emitter in X Particles was set as “0” and in Turbulence settings – Simulation, we changed the Particles Velocity Scale to 100%.

  • The End

Both text and particles (the sand) depend closely on the monkey and the magic carpet, because they fly through, making it disappear. After a few tests, we had to change the lights around it, since the Visual Effects were not finished and they added way more fireworks than at the beginning (making the background brighter than originally).

  • End Titles – The Dance

The challenges in this part were making the Titles readable enough (since they were ochre-like colour) and not to disturb the action (which, if you remember, is a funny and fast-paced dance).

In the beginning, we played with the frame of the dance, changing size and position. But then It was discarded.

 
  • End Credits (Roller)

In a film like this one, it was obvious that the amount of VFX was exceptionally heavy = A LOT of people involved in them. That’s great, BUT everyone wants the roller as short as possible… Making it fast is not the best solution since that would cause the text to strobe, so some of our “magic tricks” involved:

  • Group VFX separated by a dot
  • 2 columns for credits
  • Reduce spacing

In the photos on the right, you can see some of the evolution: from trying multiple columns for the big groups and one column for the rest of the roles, to double-column for everyone and big groups separated by dots.

 

 

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How to create a "Fluffy cloud"

How to create a "Fluffly Cloud"

It is true that in London we are not short of clouds, quite the opposite, but sometimes this is not enough! Last year we had to create a fluffy cloud for a project, keep reading to know more.

The cloud had to be integrated into real footage and needed to be visibly dense. Also, our fluffy cloud had to move, sort of chasing some characters. For this project, we tested our skills in the streets of London.

In terms of software, we created the cloud with Turbulence FD, in Cinema 4D. Afterward, we 3D tracked some footage, also in Cinema 4D, we then created a null and attached the cloud to it. The “final look” was composited in After Effects.

Firstly, I would like to recommend the following tutorial on how to make a cloud with Cinema 4D and Turbulence FD. However, it depends on your personal project you would want to change the settings. In the end, I will share the specific settings for our final result.

To “stop” the movement of the smoke and create a contained flow of the particles, you have to animate the timing. It was tricky to find the right balance, so the animation wouldn’t stop drastically, as you can see in the following tests:

Another complication found was related to the movement once we’ve tracked the cloud to the environment, because you need to find the right balance between: The speed of the animation inside the container + the animation of the movement in any environment.

In the video on the right, you can see that the particles were moving faster, creating a non-realistic feeling of the cloud.

There are plenty of tutorials on how to motion track in Cinema 4D (follow this link), so we will skip that part. In this case, I’ll highlight the importance of positioning the lights accordingly to your footage (sun direction, if you have characters, cars or any other objects creating shadows, etc).

Check the following screenshots of the original file, to check the settings that we used for the tracking and for the container:

In the video on top, you can see the “final result” of the test we created.

What do you think? Did you find it useful? Do you know any other tricks? Feel free to comment below!

Angela Gigica

ANGELA GIGICA

MOTION GRAPHICS DESIGNER

Angela Gigica is an independent motion graphic designer, art director and illustrator based in the UK. Originally from Romania, where she completed her education in decorative arts and design, she spent the past decade living and working in London. Here she collaborates with various global brands, agencies and broadcasters (including Google Play, Sony, The Natural History Museum, McAfee, WaterAid, The Guardian).

Her work is varied and her extensive experience allows her to take on a project from concept stage through to developing style-boards to storyboarding & illustrating the visual journey and right through to implementation phases and delivery.

Showreel:

Areas of expertise:

Rosie Holtom

ROSIE HOLTOM

Motion Designer and Director

Rosie is a designer and animator with over 15 years experience working for a variety of broadcast, film and not for profit clients. She has a degree in Moving Image Design from Ravensbourne and has a Masters in Photography from London College of Communication.

Her skillset includes creating style frames, storyboarding, 2D animation, compositing, Cinema 4D and live action direction. She has won Promax awards, is a visiting tutor at the National Film and Television School and was recently a judge for the BAFTA graphics and titles category.

She is also a keen photographer and has exhibited her photography around the world and been published by the Guardian, Huffington Post and Courier International.

Showreel:

Areas of expertise:

Chris Caswell

CHRIS CASWELL

TITLES & MOTION DESIGNER

Chris is a Titles & Motion Designer for Film & TV. Creating everything from title sequences to end-credits, he works closely with directors and producers to turn abstract and complex concepts into unique designs that help elevate the film. 

Working both collaboratively with a studio team or independently, Chris has worked on films all over the world. To see a full list of credits, visit his IMDb link HERE.

Showreel:

Areas of expertise:

Damian Kemp

DAMIAN KEMP

DIGITAL ARTIST

Every chef needs salt and pepper. By his own definition Damian is a ‘heavily seasoned’ pro with the finest condiments up his sleeve. He has worked in the TV and Advertising industry for over 20 years and loves collaborative pursuit as much as solo endeavour. His skill set encompasses animation, compositing, promo and large format key art production.

Showreel:

Areas of expertise:

Roland Lukacsi

Roland Lukacsi

Motion Graphics Designer

Roland specialises in CG animation, post production and visual effects for television and cinema. His work includes Feature Films, Commercials and TV Shows. Roland is highly skilled in creating complex CG animations for both artistic and photorealistic results.

Showreel:

Areas of expertise:

Maria Cerrato

Maria Cerrato

Motion Graphics Designer

No better term to define her than a “Fugitive”: she left her past as a journalist in Spain to focus on her design career, and moved to England, where she studied at the National Film & Television School.

She’s one more creative slave of Adobe and Maxon (Illustrator, Photoshop, After Effects and Cinema 4D), but she still prefers pen and paper to start and develop new ideas.

Keeping the sunshine inside even on rainy days, she’s open to challenges and loves a new project.

Her highlights from last year are:

  • Smoke simulations in Aladdin’s Title Sequence or Jurassic Word’s Battle at Big Rock.
  • End Credits for Dora The Explorer and The Gentlemen.
  • Creating a new font for Little Women’s versioning.
  • Title Design and animation for different films.
  • The cake in the office on her birthday.

Areas of expertise: