In the second part of a special feature, MI6 guest
writer "Odd Job" takes a close look at how
the title sequence for "Die Another Day"
was constructed with CGI, and how it contrasts with
the rest of the series...
"Die Another Day"'s CGI Effects -
20th June 2003
Part one looked at
how the computerised special effects and post-production wizardry
helped create the teaser trailer. Part two now looks at the techniques
used for the opening titles CG work
As with any Bond film, the open sequence sets the tone for the
feature. The opening of "Die Another Day" broke the
regular formula, developed by the man who has created the most
title sequence for the series, Maurice Binder. During Brosnan's
era, Daniel Kleinman has been in charge of the titles, and "Die
Another Day" is the first film to update the opening titles
this was achieved by conveying the story.
Set to the "Die Another Day" the title song written
and performed by Madonna, the astonishing title sequences have
traditionally been directed independently from the main feature.
Daniel Kleinman has worked on latest three Bond outings, and for
"Die Another Day" he collaborated with William Bartlett
of Framestore-CFC who supervised the visual effects. The opening
sequence leads to the eventual capture of Bond, and where DAD
differs from all other past Bond outings, it continues the story
in the title sequence. This unique move allows the audience to
snatch glimpses of Bond being integrated and torture.
The cross visualisation of the story and title sequence are weaved
together in a highly imaginative way - for example the transformation
of a red-hot poker into a fiery finger, and the interplay of CG
scorpion between real life elements and the title sequence. The
venomous arthropods where created by Jake Mengers, Simon Stoney
and Don Mahmood.
William Bartlett, who has worked with Kleinman on previous Bond
titles, was hard pushed to visualise Kleinman's vision on this
project. The two dancing girls where filmed in Pinewood Studios
using ultraviolet light. The shot required nine hours of make-up
that allowed for a shadow-free, even skin texture. The final effect
was created using live motions and offset CG, which gave the illusion
of movement on the skin's surface.
The foremost difference between the ice woman's effects and fire
woman's was the capture and CG work. The recording of the live
elements was performed with two different cameras and a detailed
body was scanned. The most difficult element was the CG look of
the ice skin. If the skin texturing was not carefully fashioned
it would end up looking like jelly and thus unbelievable. The
use of fissures and cracks created a living ice sculpture in the
silhouette of a woman.
These visuals allow the story to continue in dream like fashion
in the background of the sequence. Although the use of the titles
have shifted slightly to a story telling device, rather than two
and a half minutes of pure style, the sequence still includes
fundamental components of any Bond opening, such as dancing girls
made up of fire, ice and electrical motifs.
History of Title Sequence Design
Title sequences by Maurice Binder:
Dr. No 1962, Thunderball 1965, You Only Live Twice 1967, On Her
Majesty's Secret Service 1969, Diamonds Are Forever 1971, Live
And Let Die 1973, The Man With The Golden Gun 1974, The Spy Who
Loved Me 1977, Moonraker 1979, For Your Eyes Only 1981, Octopussy
1983, A View To A Kill 1985, The Living Daylights 1987, Licence
To Kill 1989.
Title sequences by Robert Brownjohn:
From Russia With Love 1963, Goldfinger 1964
Title sequences by Daniel Kleinman:
GoldenEye 1995, Tomorrow Never Dies 1997, The World Is Not Enough
1999, Die Another Day 2002.
Another Day"'s Special Effects - Part 1