The suicide squad, considered the best DC Universe movie of all time, is the third James gunn superhero action adventure for the creators and producers of unique cross-media production company Sarofsky, following guardians of the galaxy and Guardians of the Galaxy Vol. 2.
Once again, the mission presented atypical challenges for Sarofsky’s expertise in typography, motion design, VFX blockbuster, and storytelling on a colossal scale.
To put the wheels in motion, in collaboration with the fitter Fred raskin AS (Once Upon a Time … in Hollywood, Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, the hateful eight), screenwriter / director James gunn Erin Sarofsky, Guest Creative Director and Creative Director Duarte Elvas to plan a cut and discuss the assignment.
“Our discussion focused on creating titles that are bold, colorful and work with the dynamic underlying imagery.” Sarofsky started. “We talked about a modern / vintage vibe… something very current but also has a nostalgic sensibility.”
“James was clearly looking for treatments reminiscent of the caper war movies of the 60s”, Elvas added. “So we looked at titles made for movies like The dirty dozen, the great escape, and The guns of Navarone, and it really informed our exploration. This initial briefing also identified a few other design opportunities: for the final crawl, the subtitles, and to stylistically integrate the WB and DC intro logos.
Fast forward to the opening seconds of the finished film when viewers see Sarofsky’s stylized logo treatments, the distinctive Osprey plane appearance, prison walls, and a logo tinted with yellow and fuchsia, they are instantly transported to the film’s metaverse.
Further on, the main sequence begins mid-military operation as Task Force X (a collection of degenerate DC offenders, categorized by Bloodsport, Peacemaker, Harley Quinn, Col. Rick Flag, Ratcatcher 2, King Shark, and Polka- Dot Man) invades the island of Corto Maltese, steeped in enemies. Reflective The suicide squad With the title card’s bold stenciled typeface and highlighted color scheme, the title credits begin to appear during phase two of the Sneaky Beach Arrival. As the group comes together, the treatment of the track looms large, until the oddly upbeat track People who died by The Jim Carroll Band comes into play, triggering a faster edit. The opening credits unfold through this sequence, which grotesquely chronicles the dead and dying, as mission control agents ruthlessly settle the bets based on the growing death toll.
The Sarofsky team has prepared this montage of their design contributions:
To further shed light on their creative contributions and more details on their latest date with Gunn and his “horribly beautiful mind,” Sarofsky, Elvas, and their colleagues revealed a few other key insights.
PERSONALIZED TYPE, SPECIAL TREATMENTS AND MORE
According to Sarofsky, James Gunn sees design in his films as another character – which is why typography has been a staple of their collaborations. This time around, to match The Suicide Squad’s existing logo while embracing the vibe of period war movies, the Sarofsky team dove into 1960s movies, print ads, album covers. , vintage fonts and whatever else they could find.
“For this job, the best tool we had available was our years of typography expertise and our ability to solve readability issues on an intentionally loaded background.” Sarofsky explained. “After a few rounds of exploring with the filmmakers, we landed on Alpha Midnight, a 1969 typeface designed by Hiroshi Yamashita, for inspiration. We ended up changing it so much that it could be its own unique font.
Sarofsky continued“To meet the challenge of creating a lot of different elements for the movie, it was really important for us to make sure that all the executions were linked to each other, while still working well where they were in the movie. “
With characters set in their custom version of Alpha Midnight for every moment of the main title, for every scene that requires a subtitle, and for the final crawl, the creators of Sarofsky then added more artistry to visually tie into the footage. war of the 1960s.
“The steps we took to make the titles appear as though they were optically printed on actual film were essential in making it look like a ’60s movie.” Elvas said. “To be perfect, each graphic required at least a dozen Adobe After Effects layers, including textures, grain, chips, bevels, and drop shadows. There is also a very subtle grid weave to all of the graphics that more emulates the effect of the movie.
With Adobe Illustrator used for the design and character setup, After Effects served the team for look, layouts, and animation development. The Sarofsky-approved end-of-crawl designs were provided to Scarlet Letters, who defined the typography and animated the parchment.
Studio credits for this project also include the executive producer Steven anderson, Producer Dylan ptak, VFX Supervisor and Finishing Cory davis, and animator / designers Josh Smiertka, Cat McCarthy, Andrei D. Popa, Andrea Braga, Tanner Wickware, Jake allen, and Matt Miltonberger. The final color is courtesy of Company 3.
“Our ability to fit seamlessly into the VFX pipeline for major film post-production is a huge source of pride for us here at Sarofsky,” Anderson concluded. “Our well-established workflow allows us to contribute to rendered footage in all appropriate specifications, and thanks to our experienced team, our work is not only amazing, it fits seamlessly. That’s quite a feat for such a phenomenal film by one of the world’s greatest filmmakers.
To learn more about The suicide squad, VISIT HERE
Warner Bros. Pictures presents an Atlas Entertainment / A Peter Safran production, a film by James Gunn, The suicide squad The film is distributed worldwide by Warner Bros. Pictures.
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