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caspar and india quickly developed an idea for the titles based around a sense of caution that comes from certain colours, both in the human and the animal kingdom. beyond that it was an exercise in minimalism — how little can one affect the text whilst still allowing it to perform its function. 

the film had its world premiere at the sundance film festival and its european premiere at the cannes film festival. the film will be released by metrograph pictures. 

the title sequence is conceptual in nature such that it prepares the audience for a film that is itself poetic and mercurial by nature. thankfully lucy was open to trying something more experimental than the kind of thing most directors would go for. 

once caspar completed tbe title design and animation, kevin and cinematographer shabier kirchner printed the footage back onto film and scanned it back into the computer. this is what gives the whole piece the beautiful analog glow and grain that it has now.

the film's title sequence concept centers around having the main title card at the end, such as suggested by the film's name. furthermore the title is revealed, over picture, by the movement of a figure whose very existence is significant to the film's beginning and ending.

zach had some ideas about how he wanted the title sequence to be a part of the film's opening narrative sequence. after some discussion we settled on the treatment you see here, itself a visualisation of what it feels like when ideas or even simply words appear in your mind. the reason we did this will be obvious when you see the film.

the film has since been acquired and distributed by NEON you can watch the trailer here.

a few days before the 2022 cannes film festival producer adele romanski reached out and asked if we had the time to create the title sequence for a new film she had produced called aftersun. we connected with the film on a number of levels and immediately committed to the work.

caspar sent the director, charlotte wells, some typeface ideas based on the film’s overall mood and his experiences of growing up in the 90s. they then began work on customizing and animating the chosen typeface in a fashion that charlotte and he felt appropriate to the tone of the film. all the while caspar’s brother josiah got to work on creating the end crawl.

you can read more about our involvement in the project here, and you can watch the titles themselves here.

we sent elegance a series of typographic ideas for the titles and elegance picked the styles you see here. the resulting mixing of typefaces used, to us, suggested the idea of being a sensitive man in a tough military environment. both typefaces are beautiful and imperfect in their own ways and together suggested in this way the film's overall narrative. elegance then asked that we colour the text gold to reflect his feelings about how he felt about the story. 

for the titles caspar developed an animated title card that uses both the khmer and english languages. from there the rest of the title design followed suit. 

caspar teamed up once again with joey ciccoline and josiah newbolt and they immersed themselves fully into the fast-paced world of a television series production. the screenshots you see here give you a taste of the varying styles of animation work we produced for the 10 episode season.

we'd also like to draw your attention to the incredible soundtrack our friend and long-time collaborator matthew pusti (AKA makeup and vanity set) composed for this 3rd season. you can listen to that here.

for the closing titles trey had some unusual, abstract b-roll footage he'd shot in pre-production and we suggested we scroll black type through it so that at times the words literally got lost in the darker colours. this was one of those rare projects where everything we did both the director and A24 (the film's production company) loved straight off the bat.

the film had its world premiere at the 2020 berlinale.

caspar and stevie experimented with a few approaches before settling on the one you see here. the idea that made the most sense was using repetitive animated type and photo sequences to speak both obliquely and directly about scrolling, following, stalking and the heat that can come from that.

the film's titles and poster were also designed by caspar.

we collaborated once again with john delucca on the poster design.

the first task was to screen-record a sequence where the film's protagonist plans a trip through town using google maps. into this sequence caspar then composited photographs he'd taken on set of two cast members on skateboards.

the second task was the printing and placing into a cinema lightbox on set of the film's actual poster. this meta sequence can be seen in the film's startling denouement.