browse by collection

show titles (120)

French titles '50s-'80s.

show titles (16)


Cats and Dogs: The Revenge of Kitty Galore

designer: Michelle Dougherty • studio: Imaginary Forces • 6 comments

To view any of the title sequences you need the latest version of Flash Player 10 plugin or higher. You can download the Flash Player plugin from Adobe.com
  • about
  • the designer
  • comments
  • show all info

The kids spy movie Cats and Dogs: The Revenge of Kitty Galore left most critics unimpressed (Metacritic) score 30/100, which could explain why the title sequence, made by Imaginary Forces, undeservedly slipped past everyone's radar. Well, almost...

Cats and Dogs: The Revenge of Kitty Galore

It's arguably one of the better Bond-inspired title sequences we've come across. An uncompromisingly stylish visual feist, with cascading canine and feline motifs rendered in luscious hues offset by contrasting blacks. The gadgettery, explosions and laser beam action reflect the movie's spy theme. Add to that the theme song by Dame Shirley Bassey and the 007-reference is complete.

In this sequel to Cats & Dogs, the eternal battle between cats and dogs is temporarily put on hold, as the former arch enemies join forces to combat an evil hairless cat by the name of Kitty Galore and prevent her world domination scheme. “Brad Peyton, the director, wanted the sequence to convey the idea of an international network of spy dogs and spy cats,” explains Imaginary Forces' creative director Michelle Dougherty (The Number 23). “And of course one of his references was to the Bond films.”

STORYBOARDS
The storyboards below clearly illustrate how far apart the original boards and the final title sequence are. “We decided to have a lot of fun with the different ways we could play with the cat and dog motifs," Dougherty says. "The visual style of the sequence evolved quite a bit, as we tried to incorporate iconic elements from the film, as well as some of the specific characters.”

Dougherty pitched a few times, before it awarded. First in May 2008, before shooting had even started. But took more than a year before she settled on what direction to go with the director.

Cats and Dogs: The Revenge of Kitty Galore storyboards

These two initial look frames, designed by Joan Lau and Brett Krauss have a much lighter tone.

Cats and Dogs: The Revenge of Kitty Galore storyboards

In the two storyboards above “we were using the audio waves which the main villain, Kitty Galore was going to use to take over the world. We used it as a transitional device that leads us from country to country. ”

The board below, presented by Watch the Titles as a slideshow, was created after the ones above. Dougherty comments, “The director wanted this to feel like a Bond title. The palette is very dark in tone and moodier than the final sequence."

“After we presented this, the director reminded us that this was a kids movie, so we changed the color palette to this brighter, happier version, but we still wanted to keep the intensity, so we kept a lot of black in. He also really liked the metallic textures.

“This board is prior to us adding the type. The designers were Charles Khoury, Brett Krauss, Joan Lau and myself.”

This sequel to Cats And Dogs is a 3D movie. What was that like, creating a 3D title sequence?
“The movie wasn't created in 3D. Everything was converted after the flat version of the film was delivered, including our sequence. We were skeptical, but the conversion turned out really well. We did deliver the end titles in stereo 3D.

“During our design phase we tried to think of fun ways to take advantage of the 3D. When you are making things 3D you have to consider a few things, such as movement. Things work better when they are suspended in time rather than moving fast. Also, too much convergence gives the audience “eye strain.”

Most of the sequence was built in Maya, Cinema 4D and After Effects.



Article: Remco Vlaanderen, © Submarine Channel, 24 January 2011.

Year of production

2010

Title designer

more about Michelle Dougherty

About Michelle Dougherty

Michelle Dougherty

Michelle Dougherty is an art director at Imaginary Forces where she worked closely with Kyle Cooper for many years before he left to found Prologue. “I was a designer, then art director on his team,” says Dougherty. “I consider him my mentor.” Dougherty studied at the Art Center College of Design, a leading graphic and industrial design college located in Pasadena, California. She also teaches a class there called Motion Communication.

more about Michelle Dougherty

Full credits

Designed & Produced by
Imaginary Forces (IF)
IF Creative Director
Michelle Dougherty
IF Producer
Kathy Kelehan
IF Art Director
Charles Khoury, Brett Krauss, Joan Lau
IF Designers
Michelle Dougherty, Charles Khoury, Brett Krauss, Joan Lau, Peggy Oei, Jessica Sun, Tosh Kodama, Freda Lau
IF 3D Animators
Charles Khoury, Clint Chang, James Anderson, Robin Roepstorff, Juan Monasterio, Ko Maruyama, Teresa Swanson, Andrew Soria, Dan Meehan, Younsung Kwack, Billy Kwok
IF Editor
Danielle White, Joe Denk
IF Inferno Artist
Rod Basham
IF Coordinator
Heather Dennis, Elle Gonzalez
Client
Warner Brothers/Mad Chance
Director (movie)
Brad Peyton

blog comments powered by Disqus

Comments (6):

27 Jan 11 • by: dennik
Great work, but the song adaptation is so awful, its painful for me to hear.

8 Feb 11 • by: Madhan
Excellent work.. Basically im doing titling for movies im not satisfied with my work. Can u suggest me wat r all things i've to learn b4 do like this? Thank u in advance

10 Feb 11 • by: remco
@Madhan
First, you'd have to familiarize yourself with the software that was used to create this title sequence: Most of the sequence was built in Maya, Cinema 4D and After Effects.

Then it comes down to talent. Creative director Michelle Dougherty works with a talented team of designers and the director to create this title sequence. It would take a long time to do something this high end all by yourself.

20 Feb 11 • by: hizzouse
What did I like most about the title sequence? The subtle flash of cat eyes on the WB/Village Roadshow hologram.

1 Apr 11 • by: cullbert
Why would they upconvert to 3d something created on the computer that is already 3d? Maybe they didn't want the great titles to outshine the movie.

8 Dec 11 • by: kvzhijiba
hs4QXo , [url=http://iwpuhwyyxiex.com/]iwpuhwyyxiex[/url], [link=http://psfkzjbdjfwh.com/]psfkzjbdjfwh[/link], http://refumyrobvch.com/