Polite Type

Beth Fileti (she/her), a multidisciplinary designer exploring art and technology. I specialize in systems thinking, communication strategies, and design solutions.

Duties of my Heart

Title Screen, End Credits

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2024

Title Screen, End Credits, and Promotional Assets for a Short Film by Judy Lieff

Watch on New Day Films
Close up of a dancer laying on the ground in brown and red lighting

Collaborating with an Independent Film Maker

Working with film maker, Judy Lieff, I worked on some graphic elements to support her work, Duties of My Heart. Using a poem of the same name by Barbara Barg, the film features deaf poet Terrylene, performing the poem is ASL, while cutting between dancers who "illuminate this poem of resistance."

While the titles were created more traditionally in After Effects, for the end credits I wrote a python script to generate the screens, allowing for maximum design control, content flexibility, and (hopefully!) reusability.

(Features licensed fonts from Oh No Type Co)

A black and white photo of a woman with a film title on it "Duties of my Heart" and three emblems showcasing awards the film has won.
A black and white gif of a woman performing sign language with the words "Duties of my Heart" animated over the top
Intro movement coordinates with film's soundscape
Standard end credits of white text on a black background
Fairly standard visual approach to the end titles

Code + Process Work

Global Settings and a Universal Scale Factor

The global settings helped me explore and control the "style guide" for the end credits. I could easily explore fonts, typography scale, and gaps/margins across every screen in the end credits at once. This also helped me maintain consistency, without having to really think about it or work to hard to achieve it.

Using a scale factor meant I could use the exact same code and set up to test out timing, names, and other design elements and quickly render the video out at a smaller scale. The same exact quick-render file was easily used to create the production ready video, by simply increasing the scale factor.

A screenshot of code showing "Global movie settings"
Centralized location for style settings

Programming a scene

Scenes were broken down into rows of sub-clips. For each sub-clip you would pull in the global settings, have a title, name, set the duration, select a layout type (either "left_right" or "centered"). Then each sub-clips gets stacked together to create the scene. At the end of the script, all of the scenes simply get stitched together one after the other.

A screenshot of code which can produce scenes ad set the content and various settings
Sub-clip settings to create a single scene

A screenshot of many different colored versions of the end credits with one purple one selected and shown larger.
Using code meant it was easy (and kind of fun) to explore color

Bright neon green fading in from black
Figuring out how to cue a fade in/fade out.

Posters and Frames

I also worked with Judy to make selects for images from the film that could work for the poster art. I used python to export every frame from a time stamp range that I specified. This effectively gave me contact sheets from which I could precisely select the exact moment in the film that would have the strongest visual impact.

A list of folders name sequentially with buckets of 60 frames each. The first is titled "frames_000-0060"
Folders of frames!

A contact sheet of moments from a scene in the movie. Since it is every single frame, there is a barely perceptible difference between each image, almost like a flipbook.
Python-created contact sheet

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