Film: Design, Art Direction, Animation, Motion Graphics, Compositing (Flame, After Effects)
Gold: APDG (Australian Production Design Guild) Awards, Best Title Sequence
Australian Effects and Animation Festival (Sydney, Australia): Finalist: Best Title Sequence
West Chester Film Festival (West Chester, USA) • Sydney Film Festival 2012 (Australia) • Shanghai International Film Festival (Shanghai, China) • Roswell International Sci-Fi Film Festival (Roswell, USA) • Hollyshorts (Los Angeles, USA) • St Kilda Film Festival (Melbourne, Australia) / Winner Best Achievement in Production Design • BOFA Film Festival (Launceston, Australia)
When a journey to another planet goes horribly wrong mid-flight, the few remaining survivors scramble to secure the cryogenic pods during a catastrophic system failure, and an ordinary female Engineer finds herself fighting to ensure the future of mankind.
The titles and end credits for Cryo were executed to a specific brief from both the Director and Producer of the film. As the film opens after the ships systems have failed, credits were first required to visually represent system malfunctions and carry this suitably sci-fi style into the video diary expositions, which feature during the titles, introductory sequences, and epilogue immediately prior to the end cards and roller.
In representing this systematic degradation visually, the titles not only reflect the damage sustained by the ship and it’s computers, but illustrate the fractured relationships of the crew – twisted, buckled and malfunctioning under extreme and sustained pressure. Noise, interference, and computer glitches were art directed and timed to create a sense of unease in the audience, leading up to the disclosure of the ship’s dire situation – with the majority of glitch effects created manually, rather than as the result of plugins or software.
Interspersed throughout the titles, the video diary sequences emphasise and graphically echo the mental state of the film’s heroine. These sequences, including titles and roller, are intercut with actual NASA imagery: disturbing flashes of meteors, strange moons, and the unfamiliar silhouettes of forbidding planets, which serve to underscore the idea that we are in an unfamiliar and hostile space.
The end credits (slates and roller) continue the theme of fracture, with data readouts in the end roller rewriting themselves to spell out credit categories. By fully animating the end roller, the audience is kept within the world of the film until the very last moment.