Korngold's original brief was to design a graphic style for the credit roll, which the team at Guerrilla would use to create the final roll once the full list of credited personnel was finalized. However, Korngold also proposed to the team that he should utilize his skills to create a more dynamic animation for the lead artists, developers and managers. This list was already fixed, so Korngold could create an elaborate title sequence that wouldn't need to be changed later, and which would follow on into the simpler main credit sequence that Guerrilla could modify.
Having worked with Korngold before, the team at Guerrilla were happy for him to "go wild" with the games assets -- including 3D models of characters, weapons, vehicles and other level materials -- to create the sequence.
"I first started working on how best to visualize these assets," says Korngold. He began by "stripping their original textures and playing around with some new ones. I tried face mapping them -- a single texture that deforms to the triangles/quads of the 3D model -- and I felt the result was really fresh, as it had the feel of organic wireframes that could have been drawn by hand rather than tight straight ones that feel too technical."
Korngold used flat-shaded colours to accentuate certain parts of the geometry, as well as flat-shading some surfaces with a print pattern. He says that his intention here was to make "stills seem like post-modern printouts with an analoque quality to them."
The next step was to incorporate the names of the team from Guerrilla.
"Looking at the amount of game models provided and the number of names I had to work with, I decided that each name would live within and interact with it's own 3D model," says Korngold. "Looking at the library of models, I had the idea that the models could appear in roughly the same order as they do in the single player campaign, so it tells a story players can relate to."
With the look and concept nailed down, Korngold could start creating the animation, and then integrating the typographical elements based on the team's names.
"The big challenge I set for myself was to have a seamless flow between these assets going from one object or environment to the next without hard cuts," he says. "It took a lot of trial and error getting the pacing of the camera right and the transitions fluid."
The sequence were almost exclusively created in 3ds Max, with only the overlaid white type added in After Effects.
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