Title Design & Credits

Here is how the work lines up. New York carries the deepest title-design lineage in the medium. Saul Bass's mid-century New York work, Pablo Ferro's experimental typography, Imaginary Forces' Mad Men titles and Stranger Things logo system, Trollbäck+Company's House of Cards sequence, Karin Fong's work across Imaginary Forces, Picture Mill and Studio Lemon.

Here is how the picture comes together. Our planning plugs global shoots directly into this pool, with Imaginary Forces, Trollbäck+Firm, Buck, Elastic NYC, Loyalkaspar, Charlex, Eyeball and Roof Studio all operating out of Brooklyn DUMBO and Manhattan, and senior independent title designers and SXSW Title Design Award nominees open for projects where the brief calls for a single-author voice rather than a studio.

Here is what we have to work with. The work spans cinematic main-title sequences for theatrical features and streaming series shipped through HBO, Netflix, Apple TV+ and Amazon Studios, end-credit packages with full compliance for WGA, DGA, SAG-AFTRA and IATSE credit needs, lower-thirds and chyron systems for documentary and broadcast work, and the typographic systems that brand returning episodic shows season after season.

Here is the layout. Process runs from concept development and reference research through style frames and storyboards into animation production, music synchronisation and final delivery across the formats the project demands. Our designers handle WGA, DGA, SAG-AFTRA and IATSE credit-order, sizing and timing specs, work with the production's legal team to check compliance against the newest guild bulletins, and structure title systems to adapt to global markets where reflow, alternate alphabets and cultural adaptation are needed.

Here is how the work shapes up. Toolchains run Adobe After Effects for the typographic and motion-design layer, Cinema 4D and Maya where 3D type or settings work is needed, Houdini for process-based simulation when the design calls for it, and Nuke when the titles need to integrate tightly with live-action VFX plates. Timelines scale from a week for a lower-thirds package through several weeks to months for an elaborate main-title sequence.

Here is how it adds up. Final delivery covers DCP-ready masters for theatrical screening, broadcast-spec ProRes for episodic delivery, and IMF packages for streaming masters, with the NYS Film Tax Credit post-prod uplift logged where qualifying budgets apply and Emmy and SXSW Title Design Award submission packages prepared where the work warrants.