Steven Quale / New Line Cinema


Shot in stereo, using the Phantom camera, Prologue shot live action in Mabel’s Basement at the historic Mack Sennett Studios for Final Destination 5. In the first four films of the franchise, projectiles caused nearly all of the deaths. Derived from this recurring theme, the goal of this title sequence was to have projectiles “shooting” towards the audience. The production crew utilized an on-location trap door, and rigged the camera under the floor, looking up. With a mounted plexiglass panel protecting the camera, the crew assembled layers of glass above, enabling them to throw objects through the glass, at the lens, providing the shattering effect seen in the opening for the fifth installment of the series.

Main Title


"Final Destination 5 has been so well thought out by the studio that even the opening credits are a pleasure to watch, the names of cast and crew punctuated by a kaleidoscope of images made all the more penetrating by 3D technology."

− Harvey Karten, MovieWeb

"...3D factors in significantly throughout. While it's dialed back during dialogue scenes, it cranks way up during the death sequences. The opening and closing credits also make pronounced use of the technology, and even the biggest 3D bashers (this reporter included) will be hard-pressed to hate too much on the execution here."

− Ray Subers, Box Office Mojo

"It's honestly no insult to say that the best thing about FD5 is its credits - they may be the most gloriously overboard examples of such ever committed to film. Opening titles throw multiple hazardous objects at your face in a shower of 3-D broken glass, while the end credits showcase a montage of the franchise's greatest deaths enhanced with additional 3-D gore and scored to AC/DC."

− L. Thompson, E! Online

"Also effective are the literally smashing opening credits, with a deluge of broken glass shards and assorted lethal objects flung toward the audience."

− Trevor Parker, Fangoria

"FD5 shows a lot of ingenuity. The recurring theme this time will be skewering and lots of it... We get a tip-off in the opening credits, which use 3-D to thrust things at the audience. Before we have seen so much as a human face on the screen, we have been assaulted by skewers, knives, rods, stakes and shards of glass."

− Roger Ebert, Chicago Sun-Times

Process Frames