Motion

Blade Runner 2049 Title Sequence

By:
Toros Kose
Toros Kose
Toros Kose
Denis Villanueve
Danny Yount / Prodigal Pictures
Joshua Cam Smith
Chris Sanchez
1+ Team Members
A.J. 7 A.M. 7 D.B. 9 D.S.H. 9 F.A. 8 G.R. 8 GMUNK 7 J.S. 8 M.P. 8 M.S. 8 Creative 7.9 A.J. 8 A.M. 6 D.B. 9 D.S.H. 9 F.A. 9 G.R. 8 GMUNK 9 J.S. 9 M.P. 9 M.S. 7 Design 8.3 A.J. 8 A.M. 8 D.B. 9 D.S.H. 9 F.A. 8 G.R. 9 GMUNK 9 J.S. 8 M.P. 7 M.S. 7 Craft 8.2 A.J. 7.7 A.M. 7 D.B. 9 D.S.H. 9 F.A. 8.3 G.R. 8.3 GMUNK 8.3 J.S. 8.3 M.P. 8 M.S. 7.3 Total 8.1
In the summer of 2049... sorry 2017, I was invited by creative director Danny Yount to pitch on Blade Runner 2049; the sequel to the ground-breaking, 1982 sci-fi classic. The main parts of the pitch involved studio logos and main-on-end title sequences. Below are stills from the final logo sequence that made it into the film as well as the minimalist title card of the film. Following that are pitched but unused concepts for the main-on-end as well as some user interface work that went into it. Along the ride for this unbelievably cool project I also got to be part of a top-notch, cream of the crop team of designers consisting of Nic Girard, Chris Bjerre, Rafael Ruiz, Ben Hurand, Joshua Cam Smith, and Taka Sato.
The Concept

We were first approached to make the titles for Blade Runner 2049 with an open ended approach. As I started thinking, I decided to go with a more organic concept. The creation of the body and the data interwoven in Blade Runner 2049's themes drew to play with some microshot frames. In the concept phase, a tree of memories and the creation of a brain came into play. The sequence turned into the idea of a body being created and how a brain is created in the fluid and then move into a digital version of it appear in the next frame.

The Production

I found the "look" for the organic shots when I started to play around with some old shots that I took of different fluids. The fluid shots were shot with a DSLR camera and materials such as milk, dyes, soap, and oils to experiment with creating different fluid shots. I overlayed data afterwards to tie together the themes of data and organic. The thumbprint shots were created with my thumbprint; I pained my thumbs in black , rolled it on the paper and then scanned them. These were adjusted in Cinema 4D to add more data overlays.

Final

The final pitch for my organic/data shots did not make it into the film and the studio ended up going with the glitchy logo title sequence.

Client
Alcon Entertainment
Credits
Toros Kose Design
Denis Villanueve Director
Danny Yount / Prodigal Pictures Creative Direction
Joshua Cam Smith VFX Support
Chris Sanchez Matte Painting
Ben Hurand Compositing
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