Laura Ziskin / Sam Raimi / Marvel

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Laura Ziskin and Sam Raimi presented Prologue with the challenge of using the opening title sequence of Spider-Man 2 to clearly and succinctly tell the back-story of the first film. To do this, Prologue commissioned a set of drawings from the artist Alex Ross, and set them inside the graphic framework of a spider web.

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2D MOTION GRAPHICS | 3D VFX | EDITORIAL | TYPOGRAPHY

"“We've had a long relationship with Kyle and Prologue as they've done great title work for us over the years. As they moved into VFX, we were proud to be a part of that. The holographic floor in Iron Man 2 is an expansion of the table top tech we established in Iron Man 1.” "

− Kevin Feige, President of Marvel Studios

"But the real co-stars — the real palladium in Iron Man’s chest — are the ubiquitous motion design elements laced throughout the entire narrative. From heads-up displays to preternaturally responsive real-time 3D interfaces, Tony Stark is augmented as much by stunning graphics as by his trademark power suit. Motion graphics even play a crucial role at the film’s turning point, delivering a life-saving “eureka” moment to Stark just in the nick of time."

− Justin Cone, Motionographer

"Not since the Minority Report have interfaces played such a major role in a Hollywood blockbuster. For Iron Man 2, Prologue lifted screen design elements off of flat surfaces and into the three dimensional world surrounding Tony Stark. As he struts through his secret lab, a virtual world of swirling data and wireframe plans pops forth from the genius playboy’s fingertips, creating a seamless dance between man and machine that elegantly echoes the symbiosis between Stark and his exoskeleton."

− Justin Cone, Motionographer

"The effects sequences that really made Iron Man enjoyable and attention grabbing were the holograms. They helped movie goers to be pulled into the futuristic world of Tony Stark, but still kept the scenes grounded."

− comicbookmovie.com

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