Our opening to "Sins Of The Martyr" also acts as a title sequence, introducing the cast and crew featuring in and behind the film. Below I will explain some of the creative decisions behind the order, as well as appearance of the various credits.
Universal Pictures
The opening begins with the Universal logo, its instant recognisability showing the audience the powerhouse behind the film's funding. We used the most recent Anniversary variant of the logo to ensure the film felt modern and contemporary, while also editing it so it would quickly turn monochrome, in fitting with the film's themes.
Studio Canal
The Studio Canal logo appears immediately after to demonstrate that the film is not exclusively commercial as the institution is known for some low-key fare. In addition, this logo, also presented in monochrome, is very stylish and interesting to look at. Smoke appears to engulf the words leading the sequence seamlessly into the actual film.
Universal Pictures, Studio Canal and Enigma Entertainment present
The names of the institutions fade in from the smoke, with Enigma Entertainment, our production company, included alongside the bigger names of Universal and Studio Canal, to give it an equal sense of importance. The words are wiped away by the oncoming train from the left of the frame, an effect which was achieved by timing a wipe effect frame by frame in synchronization with the footage, and can be seen later in some of the other titles.
A Film by Nicholas Ashurst and Philip Smith
This is usually the initial credit following the names of the production companies. We felt that our names were recognisable enough amongst our audience to include them immediately and reveal who the creative minds behind the project are. They fade in then rest on a black background for a while, which is representative of the importance of the names.
This is usually the initial credit following the names of the production companies. We felt that our names were recognisable enough amongst our audience to include them immediately and reveal who the creative minds behind the project are. They fade in then rest on a black background for a while, which is representative of the importance of the names.
Lee Davidson
The credit for our leading actor is of course the first to follow that of the director. It fades in as the actor comes into view.
Typically we would have the title card for the film following the leading actor(s), but we made the creative decision to retain it till the end of the sequence to make it stand out.
Typically we would have the title card for the film following the leading actor(s), but we made the creative decision to retain it till the end of the sequence to make it stand out.
Nicholas Ashurst
The cast credits then continue with the main supporting actor, to show his relative importance in the storyline.
The cast credits then continue with the main supporting actor, to show his relative importance in the storyline.
James Richardson
We then establish another one of the supporting cast with this title at the top of the frame as to not obscure our leading actor.
Zubin Parekh
Appearing at the bottom of the frame, and continuing briefly into the following shot, is the name of an additional cast member.
with Philip Smith
We then begin to close the cast edits with an established actor who unfortunately does not play an especially major role in the movie. 'With' is used to show this, and this credit is one of the first to use an interesting visual trick, with the double decker bus moving across the frame to reveal the name behind it.
We then begin to close the cast edits with an established actor who unfortunately does not play an especially major role in the movie. 'With' is used to show this, and this credit is one of the first to use an interesting visual trick, with the double decker bus moving across the frame to reveal the name behind it.
Richard Young
Yung is a relatively minor character in the grand scheme of things, in addition to this unrecognisability of the actor. His placement as penultimate casting credit reflects this.
Yung is a relatively minor character in the grand scheme of things, in addition to this unrecognisability of the actor. His placement as penultimate casting credit reflects this.
and Lauren Chambers
This final casting credit is reserved for a minor, but pivotal character. 'And' is used to dictate that it is the ultimate casting credit, while another visual trick is employed, this time with a character moving from outside the left to the right of the frame, with the credit disappearing behind him in the process.
Nicholas Ashurst and Philip Smith
With the conventions of movie credits, we continue with who picked the cast members whose credits had just appeared and are still fresh in the audience's minds. The wording for this and the rest of the credits is smaller in comparison to the cast.
Costume Design
Philip Smith
We move onto the technical credits with costume design.
Production Design
Nicholas Ashurst
Production design follows, against the backdrop of an establishing shot.
Editing by
Philip Smith and Nicholas Ashurst
As the shots become more tightly cut and the pace increases, the audience is fittingly presented with the editing credit. My name is given first billing due to my significantly greater involvement in this field.
Score Composed by
James Richardson
Prior to the score escalating, we are shown who the composer was, readying the audience for the incoming intensity.
"Saints and Sinners"
written and performed by Philip Smith
As with the James Bond films, the title theme song and the artist behind it, fictional in this context, follows.
Director of Photography
Philip Smith
The person behind the cinematography, myself, is the next to follow.
Fight and Stunt Co-ordination by
Nicholas Ashurst
This credit is shown concurrently with the stunt of Yung falling into the fountain, therefore it is an appropriate placement, alongside the fight that is soon to occur.
This credit is shown concurrently with the stunt of Yung falling into the fountain, therefore it is an appropriate placement, alongside the fight that is soon to occur.
Screenplay by
Philip Smith
We begin the very final credits with the screenplay credit.
Based on a Story and Characters by
Nicholas Ashurst
By establishing that their is a prior development process to the screenplay, we make the story seem more in depth.
By establishing that their is a prior development process to the screenplay, we make the story seem more in depth.
Associate Producers
James Richardson and Richard Young
As the most minor of the producing credits, this is shown first.
Executive Producers
Lee Davidson and Zubin Parekh
Both names contributed quite significantly to the project thus there names immediately precede that of the main producers and directors. There is another visual trick as the thug's head knocks the credit out of view.
Both names contributed quite significantly to the project thus there names immediately precede that of the main producers and directors. There is another visual trick as the thug's head knocks the credit out of view.
Produced and Directed by
Nicholas Ashurst and Philip Smith
We fulfilled the role of both producer and director, so it made sense to combine both credits into one - we had also already established who the film was by so it would've been unnecessary to separate them. By being the penultimate credit, this will be one that the audience will remember.
SINS OF THE MARTYR
Finally, the title card appears over the beautiful shot of Davidson dissapearing into the darkness. The words appear via a creative wipe transition, growing larger towards the edges of the frame, before the screen is enveloped in smoke and the title dissapears with a loud sound effect, to give it as much impact on the audience as possible and look very stylish and professional.
Finally, the title card appears over the beautiful shot of Davidson dissapearing into the darkness. The words appear via a creative wipe transition, growing larger towards the edges of the frame, before the screen is enveloped in smoke and the title dissapears with a loud sound effect, to give it as much impact on the audience as possible and look very stylish and professional.
