Storyboarding For Motion Graphics: An Introduction to Main Titles

1. Introduction: Welcome to storyboarding for motion graphics, an intro to main titles. We'll be tackling the foundation to any animation which is design. If you're a designer at heart who's always loved film and television and wanted to know how you can design main titles, promos, trailers, this class is for you. Well, they had to best convey style and tone, through manipulating photography and typography, and also injecting motion into still images. We'll also learn how to arrange all of our style frames into a full title sequence to make our storybook. I'll be teaching you a lot of fun tricks, a lot of keyboard shortcuts in Photoshop. It is recommended that you come to this class with some sort of basic knowledge of Photoshop. Just so you have a general knowledge of all the basic tools because we'll be diving right in. A little about me, I'm Maggie Seelig and I've worked in the motion graphics industry for over ten years. I've worked in many agencies and post-production companies. I have a long list of clients that you'll probably recognize. I went to Parsons for graphic design and I actually didn't major in motion graphics. I majored in print and somehow fell into motion graphics and really loved it. If you've only designed in print and digital and want to venture into motion graphics, you can do it. In this class, we'll design a main title sequence for the 2014, David Fincher film, Gone Girl. We'll take inspiration from the original movie posters and the original title sequence, to come up with a concept for our design. Word of caution, we're not going to actually animate anything in this class. We'll be focusing on the conceptual side and design portion of motion graphics, so that if you were working for a company and wanted to pitch to create main titles, this is what you would show to the client. Let's get into it. 2. The Content: Each design starts as a concept and every great concept is the best way to present its content. In our case that's the 2014 David Fincher film, 'Gone Girl'. Gone Girl is the film adaptation of Gillian Flynn's 2012, the best-selling novel. Ultimately if you've watched this film, you know that it's a story where the personal relationship of Nick and Amy Dunne are made public through the media. The media frenzy ignites the suspicion that Nick is responsible for his wife's disappearance. Fincher is a master of thrillers and pacing and this film delivers on both and much more. Fincher collaborator Neil Kellerhouse distills this feeling into the first of its movie posters. A mysterious single puff of smoke within a stark lake view and no movie title or credits insight. Only the imagery and tag line allude to the film title. The main movie poster that follows is where both title and main characters make their debut. We'll be using this poster as inspiration for our main title. Kellerhouse has mixed moire patterns, which are these parts that have the screen tone texture into the photography of Ben Affleck and the lake environment. There's a glitch effect from the new sticker surrounding and affecting Affleck and more of the screen texture on pikes hidden eyes above the title. The title is integrated with the smoke puff as if it's going in or coming out of it. We'll be using these same design devices in our title sequence. 3. What Are Main Titles?: You may have heard main titles, title sequence, opening credits, in passing, and wondered if they all are referring to the same thing or something different. There's still some dispute across industries. But in our industry, they're all naming the same thing. These are the technical names of the portion in any film or television series that lists all of the most important contributors to a project. It's usually broken down into these three sections. One, the primary production companies involved. This will usually include big company names you'll recognize, like Universal Pictures presents or a 20th Century Fox production. This portion also includes the filmmaker credit, which is where you'd see a David Fincher film, for example. Two, top billing. This is where we list the lead actors or actresses. These are also the names you usually see in the movie posters. Three, contributors. Finally, we list all the significant contributors to the project, starting from least important going to most important. Which is why you'll usually read casting director or associate producers before you read executive producers and director. Just remember, as with all things, when it comes to the finer details of the credit roll call, it differs between projects and usually differs more between genres. Now that we know what the credits need to read, how do we decide what it looks like and what we'll show visually? Each title design is different because both its content and format is different. Content meaning, what's it about? What genre? Is it a comedy or a thriller? And format meaning, is it a feature film, a documentary, or perhaps a television series? It's important to note that films and television series can approach title design very differently. That's because, in one version, you'll be watching the entire story unfold within, probably, around two hours whereas in the other one, you'll be watching in several half-hour or hour increments, known as episodes, over a whole season. In a film title sequence, you want to tease out the storyline to the viewer. You want to use subtle details in your choice of imagery and animation to lay down the mood and introduce themes without giving away any significant plot twists. In Gone Girl's title sequence, the tease of the thriller is the start of its opening credits. It starts over black with our first credit fading in and out. Already this animation speaks to the storyline of Rosemund Pike's character, Amy Dunne's, disappearance. Ben Affleck's character, Nick Dunne, narrates his marital troubles punctuated by a dark thought over a shot of Amy as she turns her head upwards and looks past camera, presumably at Nick. The film title animates over a very similar river or lake scene as used in the movie posters. The rest of the sequence is very quiet and we chooses to let the footage do the talking. It's introducing the viewer to the setting by playing several unassuming shots at the top. It's dawn. We move from the dark into town and further into the neighborhood as the sun rises and it's a start of a new day. No one's up, and the first person we see is Nick sighing. Already we've learned a lot about Nick's character from his opening monologue and now his body language. The only other motion in the tunnel sequence is the animation of the type. Using the same fade in and out from the beginning of the sequence, this motion reinforces the feeling of something disappearing and reappearing, which is a subtle nod to a plot twist, that happens later on in the film. 4. Concept & Tools: Having seen both the original movie poster and title sequence, we are going to take pieces of both to inspire our customers. We'll be taking the coloring and glitch effect from the movie posters, and use the dawn timeline for our titles. Instead of using shots of the town, we're going to use one camera move that moves from above the clouds downward onto the river horizon scene. As it moves downwards, we'll add glitches to our frame to showcase both motion, and media destruction. Line to the idea that not all is as pleasant as it seems. Our texts will also sit on opposite sides of the frame, playing to the duality of Amy and next characters, and their personalities. To put our concept into one sentence, it would be, "As we fall through the dawn sky, glitches disrupt both the serene imagery and opposing type playing to the theme that there are two sides to every story." To create our main tiles, we'll need two things: The first one is an Adobe Photoshop Cloud membership. This is because I'll be using Adobe Photoshop Cloud in our class tutorial and we'll be using Photoshop brushes, that are only available through a Photoshop Cloud membership. Item two is a tablet. Personally, I used the brand Wacom and I use their Intuos medium-sized version. This is by far the best tool I found when designing. To me, it provides unbeatable precision when compared to a mouse and especially when I'm deep in my Photoshop effects, and I'm doing a lot of drawing and using brushes, which we'll be doing in this class. However, you might notice I'm not using the Intuos Pro family of tablets, nor is my tablet the largest size they offer. That's because as with all creatives, it's really based on your personal preference. You may find that the smallest size tablet works just fine, or that you're ultimately more comfortable with mouse. There's no right or wrong, only what works for you. 5. File Setup: Throughout the design process, you'll hear me refer to two terms quite often, and that's styleframe and storyboard. The styleframe is really the true beginning of any motion design. That's because it helps us figure out the way to convey style and tone within a single still image. If it's a good styleframe, you'll be able to expand from that one image into a full set of frames, and that becomes our storyboard. The storyboard is really our styleframes laid out in a specific order to show the full type of sequence. Now, when production companies pitch to win the opportunity to create a main title, they will usually present anywhere from 3-6 unique concepts. Within each of these concepts, they can show anywhere as low as six frames per concept to as many as triple that amount. Since this is an introduction to motion design, we're going to stick to the low end of that spectrum. First, let's open Photoshop. Once you have Photoshop opened, you want to create a new file. At the top of this new document window, you can see that there are different categories of file types. We're going to go under film and video. This top row basically has the industry standards for file types that we would normally use. Our most used is this top left one called HDTV 1080P. That's basically a 1920 by 1080 pixel frame at 72 PPI, which stands for pixels per inch. If you move over to the right, you can see preset details. Here, you can notice that again, the width is 1920, the height is 1080, and it's in landscape, the resolution is 72 pixels per inch, color mode is RGB colored because we're designing something for a screen versus something for print which would be in CMYK mode. Then to the right of it, you can see that it's currently in eight bit. Now, if you click on the drop-down arrow, you'll notice that we also have selections for 16 and 32 bits. The difference between each of these refers to the tonal values you'll get within one color. Instead of getting into the math, I'm just going to show you the difference. On the left, we have an eight-bit image, and on the right we have a 16-bit. You can see that just by doing a red gradient, that the steps between the color values for the eight bit is much choppier than the one for 16 bit, which is much smoother. This is an exaggeration. It's just to help you visually see the difference between the two. Now, while it may seem like 16-bit is the obvious answer, in most circumstances, if you're not manipulating an image that much, you really don't need to go beyond the default eight bit. As a frame of reference, any image you download from the internet is eight bit. Sixteen bit is if you know that you are going to be manipulating your image a lot. You'll be adding a lot of adjustment layers, changing colors and if you know that you'll be adding in a lot of blurs and gradients, that's where 16-bit can help you because it'll help your image look much smoother, and have better clearer accuracy. Knowing what we'll be doing, we're going to go with a 16-bit image. Now, further down you can see background contents, and currently it's at white. If you click the drop-down menu, there's a lot of other options like black, background color, transparent custom. This just refers to what your base Photoshop layer color will be. It's really a personal preference. If you know that your design is going to tend to lean towards something that's brighter in colors and mood, then white is an easier way to go just because it gives you that base white layer to break off of. But if you know that your design is going to lean somewhere towards the darker side where you'll be using darker colors, darker mood, then black is a good jumping off point. So we're going to change ours to black. Now, we'll hit ''Create''. Right now, I have my Photoshop laid out using the essentials workspace, although I have moved around the different panels just for the purpose of teaching this class. To the left we have our tool bar, up top, we have a condensed menu, to the right I currently have it set up so that we have our layers, channels, and paths up top, and our properties and adjustments below. I also have a smaller collapsed menu of our character and paragraph windows. Also for the purposes of this class, I've set up my finder window as a mac space. Mac spaces is basically having multiple desktop areas. I can open up a new finder window and we can go into our source folder. All I'll have to do is click this green expand button and that'll expand the finder windows so that it puts it into a separate mac space. All you have to do is hit ''Control, the Left or Right Arrow Key'', to shuffle between Photoshop and the finder window. I just have it set up this way so that it's easier for you guys to see where I'm pulling our photography and fonts, and everything from. You can also set up a smaller finder window next to your Photoshop window if you prefer. 6. Styleframe: Composition: [MUSIC] First and foremost, we're going to save our file. I'm going to go to File, Save As. I'm just going to save it in our project files folder. I'm going to name it styleframe. Now we want to go into our project file source folder, going into photography. We're going to track this photo into our photoshop file. So even dragging into our H-D frame, which is 1920 by 1080, you can see up here that we're not at full image capacity, currently the image is at 27 percent. I'm going to make that 20 percent larger, to 47 percent. Now we want to color grade the image. Note that I didn't say color correct, I said color grade and that's because there's a difference between the two. Color correct refers to enhancing the colors that are already in an image. That might mean, bringing down the saturation of the cyan or bringing up the intensity of the reds in this entry. Color grade on the other hand, means changing the colors altogether to create a new sense of style into. Here's how I'll approach it. First, I'm going to add an adjustment layer. Here if you click on this icon, we can add a black and white, just in the layer and you can see that it's turned our image black and white. I'm going to go back into our project file folder, back into the source folder, and I'm going to open up our GoneGirl_movie poster in photoshop preference. I'm going to first select a light hue. I'm going to go somewhere in this smoke puff and pick up only a value,then I'm going to hit ''X'' on our keyboard, and you can see that, that switched our foreground and background swatches, and now our background swatch is in-front of foreground. I'm going to pick a darker hue from the same poster, probably in the slag plus deep blue gray area. Now moving back into our style for PSD, I'm going to go back onto our adjustments and I'm going to add a gradient map adjustment layer. By adding the gradient map layer, you can see that it's basically added a color wash of the two hues we picked up from the movie posture over our image. It's looking a bit flat though. That's because we've lost some of that definition between the clouds in the sky, and so, to put that back in, we're actually going to change the blending mode of the gradient map from normal to darker color. You can see by just doing that now we have that definition between the clouds in the sky again. We're also going to change the opacity from 100 to 50 percent. Now we're going to go back into the GoneGirl_movie poster, using the eyedropper tool. We're going to select a dark blue green. Go back into our style frame, PSD, go back to our adjustments and add a solid color adjustment here. You just click ''Okay'' and we'll change this blending mode from normal to color. I can see that it's deeply pushed it into that blue-grey territory. Well, this looks much closer to what the movie poster looks like. I actually want to make this image much darker. What we're going to do is, we're going to add a levels adjustment layer. Just by playing around with these sliders, we have the black value on the left, gray is in the middle and white's on the right. By sliding these up, you can see that it's already changing our image so that it feels much darker. I'm also going to go here to our black and white output levels, and I'm going to move our whites. Let's do 175. You can see that it's already changed what looks like daytime back to something that can look like it's before dawn. We're going to add an exposure adjustment layer and darken it further by upping our camera correction. By doing that now, our image looks like it's more nighttime going into dawn. I'm going to select all of our adjustment layers and I'm going to group them in a folder and rename it grade. By doing this, you're just ensuring that you're keeping your photoshop layers organized, especially when we're manipulating images like this, you can find yourself adding a lot of different layers, a lot of different adjustments, and they can get a little out of control and then hard to remember which ones would work. This is especially great if you're working on a team, and you need to pass your file onto a different designer or animator. This way, they know exactly which layers are located where and because of this, they can change and alter the image quickly. Now let's move onto topography. 7. Styleframe: Typography: Moving on to typography. First, we want to make sure our fonts are installed. So I'm just going to hit Control, right arrow to get into our finder window. We'll go into fonts. And if you haven't installed fonts before, it's really simple. All you have to do is double-click on the font file. And it'll come up in font book. And it'll say, here you can see, "Not installed." And all you have to do is press install font. And then you'll be good to go. You just want to make sure that you have that done for both Acherus Grotesque and IBM Plex Sans. We're just going to start with white type for now. So I'm going to hit "X" to change our foreground and background colors so we have white selected, and I'm going to use our Text Tool. And I'm just going to type, "A David Fincher Film." And we'll use this as our credit line. Going into our Character panel, you can tell that we're using Acherus Grotesque in regular, we're using it at a font size of 40 points. The leading right now is auto and the kerning is currently at metrics with a tracking of 0. Now just looking at the upper and lowercase, we can tell that it's a bit different. So what we want to do is we want to select our type layer and we want to make it all caps by hitting this icon. It's also definitely way too small at 40 points, so we're going to change it to 60 points. We're also going to use the trick from the movie poster of how they create the logo by tracking out the characters. So selecting it once again, under tracking. Instead of 0, we're going to make it 500. So just by doing those few things, you can tell that it already looks a lot more cinematic than before. But we want to add a bit more visual interest into our type. So I'm going to make this into three lines instead of the current one line. I'll move it back center of frame. Well, we definitely need to change the length since now everything is a bit too tight in the line spacing. So I'm going to change it to 150 to really space it out. I'm also going to change that from left-aligned to right-aligned. And making sure to delete any spaces so they line up together. This already looks much more interesting than where we started. But I'm going to take it a step further by adding in a secondary font. So adding in a secondary font is a nice way of differentiating between the name in the credit line and the role in the credit line. So we're going to change both words, "A" and "Film," to our secondary font, which will be IBM Plex Sans Condensed. I know this name is very long. And we're going to use the weight, light regular. Do the same for Film. We're also going to make it roughly half the size of what we have David Fincher setting. So this is currently all 60 points right now. But we're going to change A and Film to 35 points. Now you can see there's definitely more of a hierarchy in our type. Now that the type looks good, we want to position it in our frame. And currently we just have it centered in frame. But I actually want to align it to the right of title safety. What is title safety? You ask. If you hit command semicolon. It'll bring up these guides in our frame. And this inner area refers to title safety. And that just basically means whatever type is within this area is safe from getting cut off during any broadcast. The area just outside of that is what we referred to as action safety. And action Safety is anything that's happening within your footage that will also be safe and insured to not be cut off during broadcast. So I'm going to select our Type Layer, and I'm just going to move it to the right until we align it to the right of title safety and hit command semicolon again to tour guides off. I'm just going to select our type layer again, make sure that it's centered vertically. Once we have that done, I'm going to track it into folder again and mean it type just to make sure that all our layers are still being named properly and organized. Hit save. Now let's move on to some visual effects. 8. Styleframe: VFX: First thing we want to do is inject a bit of motion into this. The way we'll do it, is by making a still image in the background of our sky and clouds, look like there's a camera move on it. Where it will move vertically from top to bottom. To do that, we're going to select our image layer, will go up top to "Filter", "Blur Gallery". We're going to choose "path blur". Now, you'll notice that a blue arrow comes up on our frame. This just refers to the direction that the motion will move in. This point right here, refers to our starting point, and then where the arrowhead points to refers to our end point. What I'm going to do is move our start point to roughly here, and our end point just along here. Our current speed is just at 30 percent, we can just leave this for now. But what we are going to do is change our end point speed, say 25 percent. Hit "Return" and you can see that we're getting some nice motion depth happening within our image. If you click on and off of our "Blur Gallery" filter, you can see that we've injected a nice bit of motion into it. It feels like the background is moving even though it's still an image. You can already see that there's a bit of a banding issue. Which is, seeing the different steps between all the blue hues in our frame. Now, I'm going to show you what it actually looks like on my screen, versus on this QuickTime screen recording for this class. You can see that while it doesn't look that way on my screen, recording the screen, however, does take it into that territory where it looks more 8-bit, even though we're working in 16-bit. If you're following along in your Photoshop, you'll also notice that it looks smooth in your frame. But for the sake of this class, a good check for future reference of how to get rid of that banding, is to create a noise layer. What we're going to do, is we're going to go into "Adjustments", "Solid Color" and we're going to change it to black, RGB000, hit "OK". Now we're going to go under "Filter", "Noise", and we're going to select "Add noise". Now there'll be a box that comes up, telling you to convert it to Smart Object or rasterize. We can convert it to a Smart Object. Now it brings up the "Add Noise" panel. You can see that right now it's multicolored, there are different options that you can choose. We can choose the uniform version, which is all these different noise dots feeling like they are indeed uniform. Gaussian is the one where it feels like it's a bit more randomized. Then of course we can change it from multicolored noise, to monochromatic, which is just grayscale. We are going to keep it in color, and we're going to choose "Uniform". Right now I have it set to 195, and that's perfectly fine. We'll hit "OK". Now what we want to do is change our layer banding mode. If you go down, we're going to choose "Overlay", and we're going to change the opacity from a 100 to, let's do 15. Now you can see how that has taken away that banding that was happening within our blue hues, and it looks smooth again. I'm also going to make sure to double-click my original "Color Fill" layer, and I'm going to change it to "Noise", so we know that that's our noise layer. I'm also going to move it to the top, there. See. Now we want to add an [inaudible] effect. We're going to go back into our finder window, into our source folder, and we're going to go into our "Textures" folder. Now you can see I have a "moire.psd" and a "screentone.psd". We're going to work with the screentone first. We're going to drag in into our Photoshop layer, we just hit "Return". I'm also going to drag this into a folder and call it fx, just so we know for [inaudible]. I'm also going to move our original noise layer into that folder. To the top layer again. Now with our screentone, you can see that it's the full 1920 by 1080, and what we're going to do is, we're going to mask it to just a sliver. I'm going to go over here under Lasso tool, and we're going to use the "Polygonal Lasso Tool". This just makes every edge of the selection linear. I'm going to draw roughly a box, it doesn't need to be exactly straight. It's going to come down here, and coming off a frame and I'm going to go through the David Fincher name [inaudible] I'm just going to close. Then I'm going to go over to our Layers panel, make sure that we're on the screentone layer, and I'm going to add a layer mask. I can see we've basically just drawn a sliver of that screentone texture, by masking it off from our original Textures layer. I'm also going to change the layer blending mode from "Normal" to "Color Dodge". You can see that it's turned it from the original screentone, black and white layer to something that feels more of in that blue range, of the rest of our frame. By hitting "Command" and selecting our layer mask, I'm going to go into our type layer and mask our David Fincher credit line with that same mask. It's obviously hidden both the words A and film and the bottom portion of the David Fincher name. We're going to duplicate this layer, and we're going to invert the mask. We just select the layer mask and we hit "Command I", and now you can see the rest of the credit has popped back on. Now an easy way to get the glitch effect, is to just slightly offset the type so that it looks like it's affecting it. While for here, we're going to rename this to "bottom". We know that is the bottom portion of the credit, and rename this to "top". Now by selecting the bottom layer, we're just going to use the Move tool, and we're going to slightly move it to the left. You can see just by doing that, it feels like the glitch has actually affected the type, because it's cut off and it's slightly offset now. I also want to add a bit more of our screentone texture in, so I'm also going to duplicate this layer. I'm going to delete the layer mask by just dragging it over to the trash can. We're going to draw another one of Art Glitch Silvers, so this time I'm going to start off and again, I'm going to go above the A, I'm going to go down and over our previous glitch. Close it, then add this layer, and I like this new layer of blue, so what going to do is make sure that that layer is selected. I'm just going to move it further down where it hits just in the middle of the A. I'm just going to double-click this and what is name this screentone, top. Since we're overlaying it on top of our previous screentone and save periodically. Now what I want to do is bring in another image into our glitch area. Just so that then it really feels like it's affecting the frame by not only glitching across the tape, but also having the footage change to something completely different. We're going to go back into our source folder, into photography, and we're going to choose this photo and drag it into our photoshop. I'm just going to off this by 20 percent to make sure it goes past frame, hit return, and I'm going to drag this layer below our original footage layer. Since we're not using this black background anymore, I'm just going to delete it by hitting delete. What I want to do now is select both of our screentone layer masks, so I'm going to hit command shift to select both of them. I'm going to go to our original footage layer, and make the Layer Mask. We've masked out just the portion that is our screentone, but we actually want to invert that. We're going to go back and make sure the Layer Mask is selected and hit Command I. Now you can see that we have our original background the way it is, but we've injected a new image into our glitch area. Because of how we positioned it, we get the wings of the bird that was in the original image, and we want to get rid of them. What we're going to do is select our new image layer. We're going to right-click and rasterize layer. Now coming over to our toolbar, we're going to use this Spot Healing Brush Tool, if I hold my mouse down. But there are several different options, but we're just going to use the Spot Healing Brush Tool for now. We're going to draw over the bird. Once you've drawn over it and you let go, you can see that the bird is covered. That's just an easy way of removing any object, person that you may not want in your original image. Going to go back to selecting our move tool, hit save. Now you can see with that letter image within our glitch area that this area now looks a bit too bright. What we are we going to do is change the opacity of both of our screentone layers, from a 100 to 50. That's definitely brought down the brightness a little bit. But we want to darken it further, so what we're going to do is, we're going to click on our image mask from our original footage layer, and we're going to use the brush tool. I'm just going to change that so that is a bit larger. An easy way of doing this instead of right-clicking to change the size of your brush is to hit both control and option, as you drag your mouse from left to right. That'll change the size easily. I want to make sure that our brush color is white, and make sure that our Layer Mask is selected, and I'm going to bring down the flow of our brush to 70 percent and change the opacity to, let's say 8 percent. This way I can brush over our Layer Mask without taking out too much of the glitch effective or the intercept we're trying to darken. Our type is really bright because it's currently white, so we're going to change that to a blue of some kind. I'm just selecting both layers, and going into our character tool, we'll click on the class swash tab, and I'm just going to change it to a light side. Hit okay. Now it feels like it's more integrated within our frame because it's taking on the colors within the image. Since we're getting different layers of our glitch. Here, I also want to offset the image within the glitch, so we're going to select our original screentone layer mask, and I'm going to drag our secondary image to a new layer, and add this layer mask to it. Then what I'm going to do is unlink it because I want to move the image within the layer mask, and not both the image and the mask at the same time. I'm going to unlink it by clicking the chain link, I want to click on the image layer. I'm going to just use the Move Tool and just smooth it until it looks very obviously different from the top sliver of the glitch, so that was good. I'm also going to move our screentone top layer by using the Move Tool, and I'm just going to move it along the frame till I feel like it adds another layer of interest. Just by seeing this slight edge on our screentone top layer, is a nice way of differentiating it from the bottom layers. Now I just want to drag in our image just attach. Going down into our grade folder, and our original exposure layer, I'm going to bring down the exposure just attached. Now we're getting back into that modular territory. I'm going to go back to our screentone layer, the original one. Right now it's at 50 percent, but I want to bring it back up in brightness of it since we lowered the exposure of our overall background image. I'm going to bring it back to a 100, and that is it. We'll just collapse all layers for now. Now is also a good time for us to select our background image layers, and group them in a folder, and we'll name this background. Hit save, and now we've made our first off layer. 9. Styleframe 2: Now, that we've designed our first style frame, let's start on an another one. So going back into Photoshop, we'll create another new file. We'll go to "Film & Video," HDTV, and choose the same settings that we did for our previous one. So changing it from 8 bit to 16 bit, white to black, and "Create." What I like to do is actually set my windows side-by-side, so I can start making sure that the next style frame I work on lies into the first one that I created. I want to save this new one. Work on lies for now. Since our style frame actually is more towards the beginning of our sequence where it's before dawn and it still feels like night time, now I want to bring it into the day light portion and knowing that in our first style frame that we color graded to be night time and that originally it could pass off day time. We're going to actually take layers from our previous style frame and put it into our new one. Going back into our original style frame, I'm going to click into our back ground layer and we're just going to use the same original image for now. I'm going to select this layer and hold on my shift key and drag it into our new frame. That just ensures that the positioning of the image is the same even dragging it between different PSD files. I'm going to delete our layer mask and I'm just going to [inaudible] frame and we will save it. Now, we are going to color grade it more into the dawn coloring. I'm going to delete our back ground layer and I'm just going to group this into a background folder and also create a new folder upgrade. Now, I'm going to go into our adjustment layers and select a sold color adjustment layer and we're going to chose a blue just to shift the original signs in the image more towards the blue color that we like and I'm going to change the blending mode from normal to color but we have lost some of that original orange that's nice to help make it feel more like dawn and that the sun is rising, so we will select our layer mask and use our brush tool. Now, I'm currently just using the general brushes in Photoshop and I'm using the soft round pressure capacity and this is just because using the tablet with my stylus, it's easier to gain more control, so we will still have our flow at 70 percent and our opacity as 80 and we will just keep it this way. Make sure that your foreground swatch is black and that your layer mask is selected and we will just lightly draw over the mask to bring back some of those orange tones. You can play around that you can do more or less and now I'm going to add a color balance adjustment layer. That color balance is a really great way to slightly shift the hues in your mid-tones, high lights and shadows in your image, just to better compare particular tone or mood that you are going for. Since, we're for dawn, I just want to slightly shift the color a little bit so that we can retain the original hues but also add back in some cyans and some yellows. Our mid tones, we're just going to play around with these sliders a bit until it gets to the effect that we like. You can already see the difference, how now it still retains that blue but we have added back in some of that cyan and some of that yellow within the orange. Now, I will add an exposure layer just to darken everything, so it's not as bright going to our offset, we will just up the offset a bit, lower the exposure, and the gamma a little. We will save and now we want to add our type. We will create another folder and add a type and we will just hold our type layer from our previous style frame. Enter the type folder, hitting "Shift" again so that the positioning is the same and we will delete this layer mask. We will also change the credit line from, A David Fincher Film to Directed by David Fincher. We will also rename the layer to reflect the same thing. Now, we want to add our glitter effect, so I'm going to create another folder and name it effects and ties into the first one that I did. Now, I want to save this new one and we'll just call it style frame just ensuring the image is the same as you are drag in we'll change it to dark green. I'm also going to make sure that I hit command C to copy our color swatch text color. Now we'll turn off visibility for that layer so we can select the layer beneath it and do the same thing. Here we can click command V for paste, so we have the same.Color value. Click "OK" and then turn back the layer visibility for the layer above. We'll rename this to top and bottom too. You can see even by taking the original image from our first style frame and just tweaking with the colors a bit and the textures, we've created a second style frame out of that. Now let's move onto our third style frame and perhaps our most important one, which is our movie title frames. 10. Title Frame: Moving on to perhaps the most important frame which is where we'll feature our movie title, let's make a new Photoshop file. We'll go into File, New, Film and Video, again, we're going to create a larger file for it. Instead of the usual HDTV 1920 by 1080 we've been using, if we go under view all presets, you'll see in the second row that there's another one called UHDTV 4K, and this is basically the default for when you want to design a 4K style frame, so we'll click that. You'll see that the width is 3840 by height of 2160. We can still keep it at 72 pixels per inch and we'll also change it from 8-bit to 16-bit. Knowing that this image will be more towards the right side, we'll just keep the background content as white; the reason we're using the 4K file format is because we know that this is our most important frame, we want it to be presented full screen and to look high resonance. We'll hit Create and we'll name this style frame three. I'm also going to reorganize our frames in Photoshop a bit by moving our style frame two to the left panel and keeping our new style frame three to the right. That's because I know that our new movie title frame will appear after our, Directed by David Fincher credit line. Going back into our source folder, we'll drag in this image into our Photoshop file. We'll also bump it up 30 percent to make sure that it fills the entire frame. Let's drag this in and we put it into a background folder and we can just delete our white background. First thing we want to do is color grade it again. We'll create another grade folder. First thing we want to do is create a color balance adjustment layer. For our midterms, we want to bring it more into the cyan and yellow. Shadows will push into the red a bit and blue and the highlight, let's move it towards the yellow. Now the image roughly shifts more towards our movie poster coloring, but it is a bit too saturated, so we're going to add a hue and saturation adjustment layer and we'll bring down the saturation a bit. Let's do minus 40. Now you can see we've definitely pushed it more towards the gray area. I'm also going to use our gradient tool, and we'll use a radial gradient and I just hit X to refresh our color swatch. I'm just going to start from the center, hold down Shift and drag out to pass frame, and I want to invert this as well so the outside edge of our frame is more saturated and then once we get towards the center, it's more desaturated. We'll also add an exposure adjustment layer and just darken it a [inaudible]. Now we want to add in our movie logo. Going back into our source folder, we'll go under logo. Now we'll just open this PSD, so we'll just double-click, and the logo is already placed where it should be for our style frame so all we have to do is click the layer, hit Shift, and drag it into our current frame. We can close this PSD and let's drag this into a logo folder. Now I want to add in some effects. We'll create an effects folder, and what we want to do is basically replicate the movie poster where they have that smoke puff and we're going to add in a similar smoke puff into our scene. Going back into our photography folder, we're going to use this image. We'll drag it in to our Photoshop file and we're just going to keep it at this original size of roughly 75 percent. We'll drag it into our effects folder. First we want to slightly color grade this image. We're going to create a black and white adjustment layer, and we're going to hold down the option key and you'll see that this arrow pops up in between our layers and that just means that our black and white adjustment layer will only affect this image. We're also going to add a levels adjustment, do the same thing, hold our option. Now we're going to bring up the black [inaudible] in this image, so that there's more contrast; and now we'll change the blending mode of our original image layer to screen. Because we turned our image black and white and adjusted the levels a bit, it's helped already blend in our image a lot into our scene. We have the same thing happening here too with the bird in our image, so we're going to do the same thing we did earlier, which is rasterize the layer, use our spot healing brush and just draw all over the bird. Now we're going to change it back into a smart object. We'll right-click and click Convert to Smart Object. Now we're going to add a bit of a blur around our smoke puff. We'll go to Filter, Blur Gallery again, and this time we'll choose Iris Blur. You can see that it's basically created an oval shape on our frame and this just refers to the blur area. But we'll extended slightly and we'll change the blur from 15 pixels to let's do 35, and now you can see the edges around this oval and outside of it have become blurred, and then towards the center, it's still pretty crisp. Now this inner dots refer to when the blur roughly begins. If we want it to start sooner, we can drag it in closer; but if we want it to be more towards the outer edge, we can keep it the way it was, and we'll just hit Okay. Now what we want to do is basically brush out the part where the image stops so that it looks seamless in our scene. We'll add a layer mask and make sure our swatch is black, and we're going to start drawing out the edges. Now I want the smoke puff to kind of reflect over the lake, versus being directly in front of the camera. So we're going to actually brush out a lot of it, the lake portion. And again, I'm going very lightly with my brush, so that we don't lose all of it. Now you can see that it looks more like a reflection. Let's see. I'm also going to move the alter over our first folder. I just want to adjust the gray a little bit because it's does feel too bright and saturated, especially with the smoke puff. I'm going to go into color balance, instead of 100 percent, I'm going to make it 50 to bring it more towards the blue gray area. I'm also going to add a bit more of depth in our background by adding a blur filter on our original image. So going under filter, blur gallery, we're going to use the tilt-shift. This line refers to the bottom portion of the tilt shift and this is the upper portion, so I know I don't want to affect the top very much, so I'm going to drag it to the top of our image, and we're also going to drag this one more towards the bottom, aligning it with our horizon line. We're also going to up the blur from 15 to let's do 50. You can see now that it's smoothed out or lake scene a lot. We're also going to add another blur to help the edges of it, so that we focus more on our movie title. We'll go back to Filter, Blur Gallery and choose our Iris Blur again. And you can see already that, that focuses the sharpness of the image towards the center where our logo is, but this is a little too much, so we're just going to widen our Blur mask and again, we'll go from 15 to 35. Hit Return. Now you want to go into the fun part, which is how it will be affecting the logo; for that I'm going to go full screen, just so we can see better. Going into our Logo folder, all we're going to do is basically make it look like the logo is disintegrating. To do that, we're going to use a fun Photoshop brush called spatter. If you haven't installed Photoshop brushes, it's also quite easy. We'll go back into our Source folder, and into our Photoshop Brushes folder. You can see there's a spatter underscore brushes file. All you have to do is double-click on it while you're in Photoshop and it installs the brush. First, we're going to add a Layer Mask. I'm going to select my brush tool. I'm going to right-click on, to get our brush panel. You can see right now I'm still on our soft round pressure opacity brush, but looking down, I also have a lot of other brushes installed. The one that you just installed is called the Spatter brushes. We're going to open that menu and we're going to scroll down and we're going to use Kyle's spatter brushes, pressure control two. Now you can see that it's changed our cursor to this like spatter shape, so making sure that we're still in our Layer Mask. I'm going to zoom in some more so you guys can see. Now what we're going to do is just use our brush to draw in the spatter textures into our logo. You'll also notice that each time you click on and off, it automatically changes the position of the spatters, which actually helps us a lot. I also like to make sure that our spatter doesn't look too uniform, and so I like to change between the size of the brush while I'm using it, so I'm going to hold down control and option. You can see that my spatter brush is much smaller. Now I'm just going to have fun with it and go on different portions of the logo and making sure that I also adjust my size as we go. Now what we're going to do is make sure that all of the spatters we just drew, look like they're physical particles that we can put back into the scene. I'm going to create a new layer. Using our eye dropper tool, I'm going to select the color of our logo. Then going back into the Brush tool, I'm going to draw onto this layer as if these particles have come apart from the logo. Now it feels more like the particles out we're a part of the logo are now flying outwards. It does take a bit of patience, because sometimes you get too much spatter, sometimes not enough. I want to make sure that we rename this layer, to spatter. Now you'll want to take the trick of the movie poster where the letters are coming in and out of the smoke puff. We're actually going to add a layer mask to our logo layer. Go to our brush and just make sure we're back on soft round pressure opacity vs our Spatter brush and we're basically going to draw out certain portions of the logo so that it looks like it's coming in and out of the smoke puff. Also using the same trick of adjusting our brush size as we go. Now we've created our main title frame. 11. Storyboard: Sequence: You can see with these three style frames that we already have our storyboard going. With the first frame, it's more towards the beginning of our title sequence, could be anywhere from mid to end of our sequence, and our main tile style frame is obviously towards the end. So now that we have three frames and we're really only making six, we already have half of our storyboard done. So now it's time to find where we have holes in our title sequence, and how to flesh it out. So a good way to make sure that we are filling in everything we need to in our title sequence is to create basically placeholders. So we'll go to File, New, I'll create a new HD frame, 16-bit, and we'll do black for now, knowing that I'll be towards the beginning of our sequence. I like to utilize the Photoshop workspace where I can lock different PSDs next to each other. But there are other ways of doing it too. You can choose to go under Window, Arrange, and float all in Windows, so they'll all be in their own separate window. Then you can just rearrange it by simply dragging it on your Photoshop workspace. So our main title frame obviously is towards the end, and are directed by credit also is somewhere either middle range or right before our mean time. We know with our first style frame that it's towards the beginning because we color-graded it to look like it was before dawn. So now I'm just going to drag our type layer from our original style frame. We'll delete the layer mask, and I'll just change this type color to white for now, and I'll also change the credit line to 20th Century Fox Presents. Also rename our type player, and now we'll add another placeholder. But this time we'll use white knowing that is in the middle range of our sequence. I'll track this tile into our new Photoshop file, and we'll change the color to black.Let's do a cast credit. So here we'll use Ben Affleck, and we'll rename our layer. Then one more HD frame. We can just keep it also took the same settings as the previous one. Now I'll drag this to the new frame, and we'll type Rosamund Pike. We'll also update the layer name. Now you can see just by laying it out this way, we have filled in the gaps of our title sequence with placeholders, so we know what we're still missing. Now let's save our files. I'm going to create a new folder called storyboard. We're going to rename this to, "mainTitle_1," and we'll also save our original style frame in storyboard as, "mainTitle_2." Save this one as three, this one as four. We'll rename this one to "mainTitle_5," and our last one to "mainTitle_6." I'm going to rearrange these windows so that there are locked into place. So I'm going to go under Window, Arrange, and I'm just going to use the sixth option since we have six frames. So it has rearranged them in a slightly strange order and that happens sometimes, but I'll just rearrange it by dragging and dropping. Now we have them in the correct order, going from left to right, top to bottom. 12. Storyboard: Design: Let's fill in the first frame of our title sequence. So we're actually going to change our credit line to make sure that it matches what was actually used in the title sequence. So we will change it from 20th Century Fox Presents using art type tool, we'll add Regency Enterprises and trade presents to present. More also copy and paste present [inaudible] antennas, and change this to add to make sure that we're using are secondary typeface for the different lines and our credit line. Will also do what we did to a David Fincher Film which is to make sure every credit, role and name is on their own separate line, will also left align the type versus [inaudible]. Again, we want to make sure that we're heading to the left of title safety for this frame. So we'll hit Command, semicolon and we'll move it till it's aligned to the left. Now you'll see that when the guys come up, even though our vertical central line is up, it looks like it's actually sitting a little below that. When we look at the 20th Century Fox and top of frame space versus the present and bottom of frames space. A good way of making sure that it is vertically centered is to place art type layer into a folder. We'll name it type as we do and to make sure that when we're realigning it, that the type folder is selected, and now you'll see that when we drag it up with our guide, the spacing is correct. While we're here, let's change our text layer title to 20th Century Fox present and we'll take our guts off, since this is the first frame of our title sequence, it's important to keep in mind to how our title sequence will progress in terms of the three different parts that we've already covered, which is composition, topography, and visual effects. Within all of these, it's important to keep in mind how it progresses motionless. So since this is the first frame, we want to keep everything pretty minimal and subtle because we want to ease into our motion versus just hitting it with everything we've got [inaudible] the first let's work with our background, will drag this layer into a folder and rename this to background. What I want to do with this frame is keep it in the night mode, will have a bit of color peeking it through so that it suggests some sort of movement and change in the background, and it will lead us to our second frame. So what I'm going to do is use our eye dropper tool, and I'm going to go into our second frame here and choose a dark blue color. Using our gradient tool, I'm going back into our first frame add a layer, and I want to first make sure that we're at a 100 percent capacity, and that our gradient is using the queue we just selected. Linear gradient, I'm just going to draw our gradient from the bottom of the frame, pulling down shift and stop just where regency enterprises hits. Now you can see that we've added that kind of color picking through. It seems like something is happening in the background versus just black. We'll rename this two color, and we can unlock this layer. Now in the class course, you can see that we're running into that banding issue again, if you're following along in your frame, you'll notice that your gradient will look smooth since we are in 16-bit. But since I am recording this on QuickTime, and it has that weird thing with the banding we're going to go back into our main title frame two. I'm going to go under effects and copy over my noise layer again, holding down shift and make sure the positioning stays the same from frame to frame. Going to move this up, place it within its own folder again, name it effects, and now you can see we've resolved the banding issue. Now what we want to do is add the [inaudible] effect into art type. Since this is, again at the beginning of our title sequence, I want to keep it relatively subtle. So we won't use our screen tone texture. We'll just do the offset glitch group. So again, using rectangular marquee tool, I want to make sure that I'm selecting art type layer and I'm going to just draw a rectangle hitting just above the first third of the 20th Century Fox, will add the layer mask. Do the same thing we did earlier, where we duplicate the layer and inverse the mask. We'll rename this two bottom and this two top. Selecting our top layer, we're going to use our move tool and just slightly offset the type. You can see that I've barely moved it just to keep everything subtle. We're going to do the same thing with present. So taking my rectangular marquee tool, I'm going to draw over the bottom of present, and I'm going to duplicate this top layer, delete the layer mask, and apply a new one with our current selection. Now if we zoom in, you can see right now that it is offset, but it also still retains the original positioning, and that's because we have that still happening in our bottom layer from earlier. I'm going to rename this layer two present, and I'm going to select this layer mask. Then move into our 20th Century Fox bottom text layer and select that mask. What I'm going to do is hit shift, delete, and you can see that brings up a fill window, which is another quick way of filling in any selection area with our foreground, background or specific color. Will just choose foreground for analysis, it's black, hit okay and you can see that it's removed that double layer of present. Let's zoom back out. I'm also going to reselect present and move it to the left just slightly so there's not too much of a [inaudible] Now, our glacier effect looks great with art types. It's still subtle, but I want to color the type subtle to make it blend into our background more. I'm going to select the color we were using before, and I'm going to add a solid color adjustment layer using the color we took from before, hit okay. Now I'm going to move this layer above art type to make sure that's not in the effects folder. I want to do that same thing where we hit option and make sure that it only affects the type layer. So you can see that it's added the color wash just to the art type. Now I want to click on the Layer Mask and I'm just going to draw a linear gradient. Make sure you choose that as the black and white gradient. I'm going to start above just outside our frame holding down Shift. And I'm going to take it just where regency enterprises starts. Let Go, and you can see that it's added that gradient to art type so that it feels more integrated with our background. I'm also going to rename this layer to type color so we know. Now we just completed the first frame of our title sequence. Now, moving right along into our third frame of the title sequence, we want to address the first cast credit which has been app like. First, let's work on our background imagery. So going back into our source folder, photography, we are going to use this image and drag it into our Photoshop file. Well, up it to 10% more at 37% roughly. Just so it fills our frame. Hit return. We can delete this layer for now. Let's put this into background folder and this into our type term. Again, we want to color grade background. Let's create a new folder called grade. You can close this folder for now. First we're going to change this to black and white just to give us clean sleep. Now adding in our black and white layer, we want to change the opacity from a 100 to 70. So it's not completely black and white. Then we're going to go back into our frame to grade folder, and we're going to use that same gradient map are used for it. I'm just going to select the slayer, hold down shift, drag, and instead of using darker color for blending mode, we're going to change it to multiply. We'll also change the opacity from 50 to a 100. Now we're going to add an exposure adjustment layer. [inaudible] its lowering the exposure just to tab and up our gamma. Now I want to add a color balance adjustment layer. For our mid tones we're going to drag it into our cyan, add a bit of our blue. We're going to do the same for our shadows. Then for highlights, we're going to move it a bit into the red. I like how the colors looking, but I still want it to be a bit darker, so I'm going to go back into exposure. I'm just going to lower the exposure of bit so that overall the images still quite dark. First collection I type from black to white, and I'm also going to align it to the left of title safety. Now we want to add in some motion to our background image. We're going to go back into Filter, Blur gallery, and we're going to choose tilt shift. We definitely want our clouds towards the top of the frame to be blurred, and the same thing with the bottom, but the bottom we'll drag it just a bit under. We'll also change our flare from 15 to 30. Now we can already see there's a bit more depth in our frame, which is great. I want to further that depth by also adding in a path blur. Filter, blur gallery path blur, and we're going to move our starting point from center to about two-thirds down and move our endpoint, the down past frame. We'll also change the speed from 50 to 30, and we'll also add 30 to our taper. Now we have both the effect of depth in our frame and the upward or downward motion. After working on our motion, we are getting a bit of that banding effect again. So I'm going to add an f x folder, and going back into our second frame, I'm going to drag our noise layer over to help with the banding. Now it's [inaudible] I'm also going to drag over our screen toning, remembering to hold down Shift. Delete this layer mass. I'm going to re-position it below our noise layer, we can collapse these for now. Now we want to do the same thing with our screen tone there as we did with frame two and five. We're going to use the rectangular marquee tool. I'm going to draw a box about two thirds down through the athletics credit, and we'll add the layer mask. Also duplicate this layer and I'm going to track it upwards. Then I'm going to unlink it, select our layer mask, and I'm going to this form. Now I'm just going to rotate it lightly upwards just to give it a kick. Turn, and I'm going to move it up. You can change the blending mode to divide, but it's too harsh right now so we're going to change the opacity from a 100 to 30. Also going to go back into our grade folder, and I'm going to play around with the color balance more to bring in more of those blue hues to match it to our second frame. The shadows, I'm going to tweak it slightly and same with our highlights. We'll rename this layer to the top. I'm going to select the layer mask again and use our brush tool. I'm just going to draw out of this top screen tone layer so that it blends in more with our background image. So we're left with more of a sliver. I also want to go back into our grade folder and we want to make sure of what clipped off any layer masks and we're going to take our original dark blue that we selected for our first frame. We can hit X to rate foreground, and we're going to add a solid color adjustment layer. We're also going to change the blending mode from normal to linear dodge add. Now selecting the Layer Mask, we're going to use the gradient tool. We're going to keep it but the linear gradient. We are going to draw gradient just from about a third into our frame to the bottom of our frame. We also want to remember to affect art type layer with the glitch. So select our type layer, we're going to also hit command and select our original screening tone layer mask, add it to our type. Duplicate, inverse our mask, and with our keyboard right arrow just a few taps to make it offset. Rename this to autumn. You also want to select both layers of our type. Go into our character panel here, select color, and move it into that silver cyan blue territory. Let's also add in or more a pattern just to give it another level of dimension. We'll go into our fifth frame under effects, and we'll drag in this moray layer and we'll do the same with hold down shift. Make sure that it's placed above our screen tone, but below our noise. We can delete this layer mass and add a new one. This time I'm thinking to change our lending mode from normal to vivid light, and then with our brush tool we want to make it less even, so we'll just draw out a little bit. The effects are looking great, but we want to slightly adjust the color and exposure a little bit. We'll go back into our grade folder, exposure, and I'm just going to move our offsets slightly to the left. Then just up our gamma a little. Going into color balance, you want to go to shadows, and I want to bring it more into the cyan territory. Same with our midterms. Now it looks like it jump from our second frame to our third frame. Play it safe. Now we'll move on to the fourth frame in our general sequence. 13. Storyboard: Final Frame: With only one frame left to go, you can see that the rest of our frames are grouped together nicely, because they're in a similar color story. You can tell from the footage and the coloring, the progression of the title sequence from night time through dawn and the introduction of the glitch effect and how each frame approaches it differently. When our storyboard is limited to so few frames, it's always good to show one frame where it has a big impact and that can be the way it's colored graded, the way the motion works using an Outer Layer Texture, or all of the above, so with our fourth frame, we're going to drastically move our color grading in this particular frame. First let's make a background folder and drag this into our type folder and selecting our background folder. Let's go back into our photography folder and we're going to drag in this image. We'll scale it up by 40 percent, hit "Return", and make sure to move this into the background layer. We're going to to keep this frame relatively warm in the current color it's in, but we'll still do a bit of grading to it. But first., we're going to alter the image slightly by overlaying a separate image on top, so going back into our photography folder, we're going to drag in this image now. We'll scale this up by 30 percent, hit "Return" and we're going to change the blending mode from normal to soft light. Now you can see that we've integrated the two together. And I'm going to reposition this slightly by holding down "Shift" and dragging it down a bit so we can get more of these sun rays. I'm also going to add a layer mask. Use our gradient tool, linear spline, I'm going to draw our gradient line from just outside to the right of our frame to center of the frame. Now, we have both images and we're going to sightly color correct. We'll start by making a correct folder, we'll add a hue and saturation adjustment layer, and we're just going to bring down the saturation a bit. We're also going to keep our type relatively on the dark end, since our background is light. But we're going to also align it to the right of title safety. We're also going to go to our Character Panel, Color Swatch, and I'm going to bring in into a deep purple, just to play off the colors currently in our frame. "Okay". "Save". Now, we will add in our effects. We can delete this background layer and always make sure we're selecting our base image layer. Go to "Filter" "Blur Gallery" and then we'll also do a path blur on this one. We'll move our starting point to the top of the frame, our endpoint to the bottom and we'll change it from 50 to 70 percent. You can see that's added some nice motion blur to the clouds on our right side here, and just a bit to our left. We're also going to add in our screen tone layer now. I'm going to add an effects layer above our current layer. We'll just move over to our fifth frame, go into the FX folder, and we'll drag in our screen tone. I'll right-click and delete this layer mask and let's you use the polygonal lasso tool again to draw a new glitch area. I don't want it exactly level, so I'm going to angle it just downwards slightly and then through Rosamund Pike's name. We close it and we'll apply the Layer Mask. We'll select this Layer Mask and apply it to our type layer. Do the same thing where we duplicate and then inverse the mask, bringing this to the bottom and this to top. Selecting the bottom layer, use your move tool and our keyboard left arrow, we're going to move it just slightly to the left. I also want to differentiate the two more by just bringing down the opacity of the top layer from a 100 to let's do, 70. Hit "Save". Now, we are also going to duplicate our screen tone layer. We're going to delete this layer mask and we're going to redraw using our rectangular marquee tool another glitch selection area. We'll add the layer mask and we'll change the blending mode from color dodge to color burn. Let's also use our brush tool to slightly draw our a bit of our layer mask. Now, I want to take our background image and actually insert that into this sliver of our glitch, so what we're going to do is, I'm going to collapse all layers, and I'm going to turn off visibility for our type for now, and for our FX and we're going to select the correct folder. Then I'm going to hit "Shift", "Option", "Command E". This has basically merged both our correct and background layers into one photoshop layer. It's a nifty trick when you want to just have one layer of your entire background image. We'll rename this to Background. I'm going to turn back on our FX and type layers. I'm going to open our FX folder, and I'm going to move this background layer to above our screen tone bottom layer and we're going to select the screen tone bottom layer mask, apply it to our background layer, and change the blending mode of this layer from normal to linear burn. We're also going to unlink it and make sure we have the image layer selected and we're going to move this down, so that we get a bit more of the cloud definition relink. Clicking on the layer mask we're going to use our brush tool to again brush out the majority of this so it's not so harsh. I'm also going to go back into our screen tone top layer and I want to adjust the shape of this as well, so I'm going to go back with our brush tool, I just want to brush out most of this on the left side just so that it's not so even. Last but not least, we're going to add in the moire texture, so we're going to go back into our fifth frame, select the moire layer, and we're going to drag it into our fourth frame. We'll delete this layer mask, apply a new one, and just do the same thing with the others, or we just take out a bit of what we want, so it's not over the entire frame and I'm going to keep the texture more towards the top for this frame. We'll close this again and save all files. Now, we've filled out our entire title sequence storyboard. While we worked on our first three style frames independently of one another, where we really focused on each style frame and what we wanted it to look like, it's best that once you're working on the full storyboard, to lay it out this way, where you can see everything at once, because this is how you can determine that everything is within the correct color range that you want it to be in, and that there is still a progression that you're seeing within the title sequence of motion, of how type works, and how you're affecting your footage. At a glance, our boards are looking pretty good. We definitely see the progression of night time to daytime and we also have a nice progression of our glitch effect with our type, so that every frame is not exactly the same. But in this view, where we have all six frames up, you can see that frame four and five, the glitch effect actually is relatively similar. You can see here that our top glitch layer, is almost the same size as frame five, and then the bottom one as well. You can also tell that the color between frame two and frame three is still a bit off, because this one is more in the blue-green range versus this one is definitely more blue, with a bit of cyan towards the top here. You can also tell that between frame five and frame six, the color is slightly off. This one is much warmer and more blue versus this one is less saturated. Now that we've spotted these differences within our storyboard, we can update them to perfect the title sequence. 14. Storyboard: Final Tweaks: First let's work on the Fran five. The first update we're going to do is color. I'm going to go back into our grade folder and I'm going to add a hue and saturation adjustment layer. I'm just going to bring down the saturation of it. Let's do minus 20. I'm going to move our hue a little to the left so that we're more towards cyan. You can see by just doing those two steps, it feels a lot more within the world of our final frame. I also want to go into our FX layer and select our screentone layer mask. Use the brush tool and just slightly draw out the left end of this and the right, just so the effect feel less harsh. Now, let's move onto the frame 4, since the shapes of the glitch effect for both four and five are so similar. We're going to reach these masks. Going into FX, screentone, the top version, and I'm just going to delete this layer mask. I want to use the Polygonal Lasso tool. We're going to draw on the bottom of this time. I'm going start our frame again. Again, I don't want anything too level. I'm going to make this bottom one larger also. Kind of stuff. We'll apply our layer mask. I'm also going to unlink select our bottom layer mask and use our move tool, just move it up slightly so it hits into our top scrape till there. Link again and I want to change the capacity from 50 to 20. I'm also going to update the capacity of the background layer, from 100 to 60. Just so it's not so harsh. Safe here. Now, moving on to our final update, we are going to adjust the color grading in frame 3. We're going to change the blending mode from Linear Dodge to Color Dodge. Then, we're going to go into our exposure layer and bring back our Gamma correction a little bit. We're also going to add a little bit more brightness towards the bottom of our frame, so that even though our frame 4 is an outlier, we can still see that there's a progression in terms of night time to day time. I'm going to zoom out a little of our frame, make sure that we're in the layer mask of our exposure layer. We're going to use our gradient tool. Make sure that it's a radial gradient. We're just going to draw a gradient from outer frame and then draw it back here. Since this is the bottom left of our frame, it does coincide to the top left of our frame 4 where the summaries are. We'll hit Save. We fully completed our storyboard. 15. Thanks: Thank you so much for taking this class. I hope you learned something cool and new in Photoshop, i hope you enjoyed your first experience designing main titles and your first storyboard. I encourage you to try different things. You don't have to do it the way I did. You can change the colors, change the font, change the imagery altogether. Play around with it, above all, I hope you had fun. If you have any questions, please feel free to reach out. Thanks again.