OLDBOY
Title Sequence / 2024Oldboy depicts Dae Su's journey for revenge, only for him to discover the tragedy originates from his actions in the past. This concept aims to describe karma from Dae Su resulting in the ultimate chaos at the end.
Final Frames
The title sequence depicts the karmic concept through the metaphor of red threads. As we trace the red lines, we discover the pathways leading to destruction and chaos by one’s own actions.
The title sequence depicts the karmic concept through the metaphor of red threads. As we trace the red lines, we discover the pathways leading to destruction and chaos by one’s own actions.
It
begins with a close-up shot revealing the intricate lacework of shimmering crimson
strands and a needle. As the threads slowly multiply, the scene grows
increasingly complex, foreshadowing the protagonist’s tortuous course.
More threads intertwine until the vivid tangle shapes the full title “OLDBOY.”
The sequence concludes with a vision of inescapable karmic retribution.
More threads intertwine until the vivid tangle shapes the full title “OLDBOY.”
The sequence concludes with a vision of inescapable karmic retribution.
REFERENCE BOARD
LIGHTING&COLOR REFERENCE
STORYBOARD
DEVELOPMENT
PHOTOSHOOT
COMPOSITE
I mainly used curve and fill color to add green tone and enhance the red saturation.
LIGHTING&COLOR REFERENCE
TYPE TREATMENT
To distinguish it from the red threads, I opted for a serif typeface. Among serif options, I selected CINZEL for its sharper serifs, enhancing the tension in the scene.
Additionally, I incorporated a blur effect on certain parts of the type to convey the uncertainty depicted in the movie.
To distinguish it from the red threads, I opted for a serif typeface. Among serif options, I selected CINZEL for its sharper serifs, enhancing the tension in the scene.
Additionally, I incorporated a blur effect on certain parts of the type to convey the uncertainty depicted in the movie.
STORYBOARD
DEVELOPMENT
In the initial phase, I likened the sequence to a spider web, envisioning the protagonist weaving a trap for themselves, much like a spider ensnaring itself. Yet, I discovered this metaphor overly complicated the scenes and hindered the integration of various elements.
PHOTOSHOOT
COMPOSITE
I mainly used curve and fill color to add green tone and enhance the red saturation.